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					CURRICULUM SYMPOSIUM REPORT
Namibia
31 July – 1 August

INTRODUCTION
                                                              st         st
FEPACI hosted a Curriculum Symposium in Namibia on the 31 July and 1 August 2008.

Rationale
The hosting of the Curriculum Symposium by FEPACI was an urgent response to resolutions taken by
Congress in Tshwane South Africa April 2006. FEPACI was mandated to interrogate and research the
current state of curriculum within the audiovisual cinema educational systems and look at performance
measures and viable functionalities of new entrants and the quality of their diverse skills capacities and
economic relevance as they become an intrinsic part of the audiovisual cultural economy as content
creators and services providers. FEPACI, in meeting its resolutions, encourages the creation of an
environment where there is a curriculum framework, while it may not be a one size fits all, that
produces a community of graduates who have knowledge capacity that allows them equal opportunity
to employability, competence and competitiveness within creative industries where as young and new
professionals they are functioning in an enabling environment where there is room for common
achievement towards a sustainable profession that generates economic development and growth of the
cultural audiovisual economy.

PREPARATION

In preparation for the symposium, the following were auctioned;
          A concept was developed and the concept paper was developed
          The hosting country was identified and informed
          A theme was developed with discussion topics and issues
          Relevant institutions were identified to participate
          Relevant delegates were identified and invited
          Funding was sourced from various probable supporters
          The venue was identified, recced and confirmed
          All other logistics and event matters were arranged
          Relevant content was developed and shared with confirmed delegates
          Tasks were allocated accordingly to all participants
          The agenda was drawn and shared with all confirmed participants

THE SYMPOSIUM

DAY 1

At the opening of the symposium, the Secretary General of FEPACI, Ms. Seipati Bulane - Hopa thanked
the Namibian government for its support in hosting the symposium in Namibia and she also spoke about
the need for film to become a structural intervention in the African image. She said, “We are here today
because we want to see something new. We want to see a new image and a new representation of
Africa”. It was at this moment that Bulane-Hopa spoke about the importance of training and education
of film as tools that can help better shape Africa’s image, her values and impartation of her legacy to
future generations.

In his opening speech at the symposium, The Namibian Deputy Minister of National Heritage and
Communication Technology spoke of the symposium as a forum that would address the challenges of
the Namibian film industry and from far afield in the continent. “The Ministry of Heritage and
Communication Technology have the mandate to ensure that all the cultures of Namibia are felt and
known and that the medium is film should be appreciated by our people. Power and control with



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regards to this medium is dominated by only a few. The more it happens the more our young appreciate
the dominions and foreign cultures as they experience it today”, said the Deputy Minister.

The Deputy Minister also pledged his support to FEPACI and the AU in its endeavours to promote
African images and with this statement he declared the opening of the symposium.

Chairperson of the discussion panels, Prof. Joyti Mistry said the following in her opening presentation:
“What makes this symposium and the discussions timeless is that training in practice of cinema is today
seen from a different point of view. Education is a serious business and how the competition and
homogenising the business of education is difficult and complex. Film education should be the business
of developing people and not only product output”.

PANELS PRESENTATIONS

Panel 1 - Chaired by Dr Maude Dikobe

Mr Imruh Bakari
The brief of this symposium requires that some consideration be given to: “What are the differences
that need to be considered in training outside Africa and the approach in the African continent?” It
goes on to request a consideration that, “in articulating the difference in the terrain what steps should
be taken to equalize that in order to enable our graduates to compete globally.”

In responding, the introductory remarks were intended to signpost in a general way the concerns of
filmmakers; the technological peculiarity of our age, and the global context within which anything call
“film” must exist. Moving a step further, it is an attempt to situate the baselines of the discussion being
presented. Also it is an attempt to [i] recognize the diversity of products and practices which are now
regarded as the African film industry”; and [ii] recognize the unavoidable ideological and cultural issues
that imbedded in the brief.

The approach therefore is to offer some views that could set up a discussion, and end with an anecdote
which I hope will illustrate the challenge ahead.

Given the diversity of “film” practices across Africa and the contentious idea of what is an African film,
the first marker to be offered is that there is only one way to make a film. This in no way denies the
diversity of products which are called films. The scope is as wide as there is global access to the
technology.

The diversity could indicate individual talent or preference – personal or professional, gender,
nationality, cultural particularity, a genre, or a chosen medium – cinema or television. Whatever the
differences, each product has been produced by the use of the same technology, responding to light
and creating moving images.

If the product is considered to be “good” or “bad”, these are judgments reflecting various preferences –
ideological, cultural, aesthetic, and importantly the varying accumulated experiences of more than one
hundred years of moving image production.

Out of focus images, bad light, shaky camera, discordant or no sound; all take on meanings in a “film”.
The questions around “what does it all mean” are linked to the various contexts and the intentions of
the products and the producers.

The suggestion here is that having engaged with the common factor of making a film – the technology;
two other factors come into play which greatly account for the diversity and individual signatures which
mark our preferences and prejudices. One is the discipline and competence in skills; and secondly, the
ways of seeing as determined culturally, ideologically or otherwise. This is what is brought to influence
and shape the creation of the image and the construction of the various narratives, and how audiences
respond.


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In this sense therefore, it is the relationship between these points of engagement: technology, skill
disciplines, ways of seeing; which challenges us because of the mediating factors of economics, media
politics and the institutional relationship which are unavoidably involved. The conclusion can be made
that it is because these vary from country to county, and at the same time interact globally with critical
consequences; that the consideration of “comparative” and “competitive” notions become relevant.

The general terms “outside Africa” and “in the African continent” are useful only if they allow us to
determine what is currently dominant in each context. It is in this way that I will continue to refer to use
these references. Notwithstanding, it is worth noting that the assumption could well be that “outside
Africa” refers only to Europe and North America, and excludes other experiences in India for example.

Equally, we could well overlook good practice and excellent models of work already in Africa. The
second panel might well elaborate on these. However it can be noted that:

        There are abundant opportunities in Europe & North America for film training and media
         education.
        In Africa there are few.
        In Europe and North America film training and media education is given great importance, and
         it has kept pace with global and technological trends.
        In African it is not so, instead there is a tendency to de-emphasise critical study and
         contemporary theories in favour of functionality within a broad ideology of “development”.

Hence, what are the differences that need to be considered in training outside Africa and the
approach in the African continent? Perhaps we can respond to this question in terms of the held view in
relation to the following:

        An understanding of the idea of “training” – [acquiring skills]. This should be broadened or
         indeed substituted for a more substantial idea of “learning” [creativity, innovation, critical
         knowledge – problem solving]. This facilitates an appreciation of the various levels of learning
         that may be acquired. Terms like “professionalism” then become more rational and linked to
         levels of performance rather than how one earns a living.
        What is the focus of the particular centre of learning? There are differences in approach and
         outcome in leaning about film in a “film school” and learning about in a school, college or
         university. A worthwhile institution will not only have a clear approach, but “film” will not be
         taught in the same undifferentiated way that film is taught and appreciated in most African
         contexts.
        Centres of learning serve their societies, their industries, their institutions. Hence, on leaving a
         “film school” in Europe – National Film & Television School; or a university – University of
         Winchester; in each case a very clear indication can be given as to what the particular graduate
         is fit for in professional life. The emphasis and scope of each institution, enables an assessment
         of the skills and knowledge being brought to the media industry.
        What is the nature of the “industry”, the institutional contexts; and the status of filmmaking in
         African society; as opposed to “outside”. This does have some bearing on the enabling policies,
         the resources, and the opportunities available – for work experience for example.
        What kind of negotiation that is required in order to get the benefit of the learning being
         offered. This is linked to a consideration of what the student brings to the learning process…as
         well as how their interests are catered for: media literacy, technical competence, cultural
         knowledge, for example.
        The most accessible training opportunities in Africa are in the form of short courses and
         workshops. Here the emphasis is on a very limited acquisition of practical skills – invariably
         linked to a notion of “development” that de-emphasizes professionalism and creativity.

In view of these observations, what therefore can be said in terms of “the steps [that] should be taken
to equalize [the terrain] in order to enable our graduates to compete globally.” As a starting point,
some critical questions need to be asked. Among them:



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        What do students [individuals and as a community] bring to the learning process?
        At the end of a course, what is the particular student fit for in a media industry?
        What kind of society, industry or institutions are to be served?
        Is film education regarded as an investment or a luxury?
        Where do the society and the industry fit into the global scheme of things?

The central question could well be whether it is of any importance to be able to compete globally, and in
what ways? Compete may not be the most helpful word, but the idea of existing without apology in a
global world seems to be a useful consideration.

As for the steps to be taken:
      Let us be clear in terms of what we are doing in terms of “training”. Are we running a film
          school; or teaching film in a university? In each approach, what is the level of media literacy,
          critical knowledge and skills – production skills and artistic competence that is necessary to be
          achieved?
      The curriculum must be rigorous in terms of its content and duration.
      A curriculum must be designed in its scope to enable adequate knowledge to be acquired in: [i]
          The history of cinema and moving images [ii] Cinema industries [iii] African Cinema [iv] Film
          Theories [v] Film Techniques [vi] Visual images and Africa [viii] the technologies of
          representation [ix] Film production.
      An awareness of the presence of and specific nature of “Television” is essential.
      Professionalism and excellence should be emphasized along with critical knowledge and
          innovation.

The anecdote which I will share is an attempt to illustrate some of the critical questions raised by the
brief. It refers to my time as Festival Director of ZIFF.

Here one of my concerns was: The relevance of the festival – How do we achieve more and better
Tanzania films?

Tanzania Screenwriters Forum was part of the answer. Another response involved events like:

        East African filmmakers’ encounter [2004] with the Dogme filmmakers from Denmark. The
         result was: [i] Conflicting expectations between the groups, [ii] A disparity in technical and
         conceptual competences, and hence; [iii] An unproductive encounter.

NOTE: The narratives behind each of the initiatives below can also provide information that would allow
us to further explore the issues and challenges in relation to actual situations. Each is an attempt to
provide professional film training.

        Tanzania Screenwriters Forum.
        EATV objectives re: proposed staff development course by Savannah Films.
        Maina Mucoki correspondence with Imruh Bakari, July 2003.
        Maisha, Kampala.
        Mohammed Amin Foundation, Nairobi.
        UNESCO Zimbabwe Film & Video Training project

Professor Patrick Ebewo
While he clearly indicated that he does not advocate Africanisation of the film curriculum, for he doubts
the possibility of doing that when the film industry heavily depends on Western technology, he believes
that African Cultural Studies should be the centre of the syllabus. He further indicates that no one who
lacks good understanding of own and other cultures can be expected to have a positive influence in both
internal and international affairs, more especially those in the communication disciplines, information
media. The panellist further indicates that for curriculum, concentration should be on how particular
phenomenon relates to matters of ideology, nationality, ethnicity, social class and gender. He further
explains that cultural studies view culture as key instrument of political and social control.

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Mr Pheko Mathibeli
The speaker expressed great concern about the negative presentation of Southern Africa in the media.
He elaborated that the media coverage of the SADC region is event biased and superficial. He noted that
though the number of media institutions has substantially increased in recent years, there is no shared
curriculum, academic autonomy is fiercely guarded and there is no appreciation of SADC issues. He
alluded that all members of the committee should go back to their respective communities and consult
policy makers on the standardisation of the curriculum and a consensus should be reached in terms of
format and content. He also highlighted the progress that has been made by the Committee up to date
from 2006 as follows:
2006: Draft curriculum submitted and translated into different languages.
2007: Adjustments made.
2008: Printing of the curriculum.
2009: Implementation.

Mr Clarence Hamilton




Prof Jyoti Mistry
The speaker emphasised on the need to consider the audience for which movies are made. She
highlighted that the notion of ‘local content for local cinema’ needs to be revisited. The speaker also
emphasised that cinema is popular culture thus marginal and dominant cultures need to be taken into
consideration when coming up with films. Furthermore she added that there is no distinct boundary on
who has a right to represent certain issues citing the debate that was stirred up by the movie Blood
Diamond. She also expressed the curiosity in the world about cultural and identity information
exchange. The speaker recommended that films should be adapted to a large number of audiences.

Panel 2 – Chaired by Dr Roukaya Kassenally

Ms Masepeke Sekhukhuni
The speaker stated that culture through film was used for the liberation of the people. She also further
stated that African cinema is not static but is very dynamic and those training should be allowed to give
their own interpretation of African Cinema. She also shed some light on the evolution of the NFTS school
which she said came up because of an anti-apartheid movement because black people were excluded
from being creative decision makers. NFTS is enabling new stories to be told from marginalised
communities. The school is giving exposure to those involved in the industry of filmmaking.

Mr Bata Pascchier
The speaker represented AFDA which is the South African School of motion picture, media and live
performance. It was established in 1994 in Johannesburg with an initial enrolment of 12 students. It
expanded in 2007 to Cape Town. Now it has an average enrolment of 600 students per year. It offers 3
and 4 year undergraduate degree programmes. It receives no outside funding except for student fees.
According to the speaker the school’s goal is to develop nation building through film which is rewarding
to all stakeholders. The school’s program mainly focuses on creating highly entertaining motion picture
medium and performance products that will meet the needs of the market. Their learning programs
include workshops, projects and productions, internships and industrial modules. Assessment of
learning is made in terms of comprehension, application and integration.
He recommended that trainers of filmmakers should be looking at inter-institutional activities.

Mr Mandla Dube
The speaker stated that culture is “a conditioning process”. He mentioned religion as the most powerful
force driving culture. He also added that the content of the curriculum should dictate the route a
cinematographer must take. He also advocated for the use of a wider aspect ratio when creating films.
In addition the speaker emphasised on the need for collaboration in filmmaking. The speaker also
emphasised the need for specialisation in filmmaking. Due respect should be given to respective team
members in filmmaking.

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Mr Motsumi Makhene
The speaker emphasised the need to align various policies into a coherent direction. He stated the use
of music to create a sensation of putting the audience right in the middle of a moment and the need to
create synergies between allied industries and strengthen quality of practitioners.
 He gave 4 strategies that may be considered in development and implementation of the curriculum as
follows:
     1) Develop a policy around conscious industrialisation of the industry itself. “We should be
          leaders not followers”.
     2) Rapid digitisation of production transmission and diffusion of systems.
     3) Transforming Pan-African market.
     4) Encouraging public institutions in creation of platforms for education on our heritage.

Mr Martin Loh
The speaker gave a background of CILECT which is an NGO of UNESCO based in Ghana responsible for an
association of schools that teach professional filmmaking. It was formed in 1980 and it organises
seminars for institutions that are trying to penetrate the market. The organisation sources its funding
from NGOs and other organisations.
CILECT has three types of membership which are full members, partnership and candidate member. The
organisation aims at improving quality of work and offers training.
In addition the speaker also gave a background of NAFTI which is a filmmaking school based in Ghana. It
became a member of CILECT in 1980. It was founded in 1978 by the government of Ghana with the view
of telling African stories to be used in cultural and economic development of Ghana. The school was
required to develop its own curriculum and this was done within 6 months of conception. The school
promotes the values of African culture. In 1996 the school started offering 4year Bachelor degree
programs. Second year students are sent on field trips in rural areas and stay with those communities
during that time. Third year students go on industrial attachment. Funding of the film school is
expensive thus they have come up with their own income generating projects.

Issues that emerged frequently from Presentations

       Racial dynamics have to be taken into account;
       Cinema can function as a tool of poverty alleviation, depending on how it’s used;
       Youth and women, especially women with disability and rural communities should be taken
        into account by film-makers;
       Identity, culture and the preservation of our heritage is in film is very important;
       There must be a scientific understanding of culture;
       How can film be mind-transforming;
       “Africanising” the film industry will take us backward not forward;
       How to tell stories that will persuade African audiences to watch home-grown movies;
       Films made in our own languages sell better and are appreciated more by our audiences; use of
        indigenous languages to tell our stories;
       Films should take ethnic and cultural diversity of Africa into account.
       There is a need to share knowledge and curricula; sharing of intellectual property and
        resources: how to achieve that?
       Exchange programmes should be looked into;
       It was also felt that the theme is still abstract – and we need to crystalise what we want to
        achieve;
       Film-makers should remember that our audiences are all over the world not only in Africa;
       Who are we making films for? This question came up several times in the presentations;
       What is being done to specialize?
       How can film-makers collaborate?
       African cinema should be defined by existing contexts and own interpretations;
       What strategic direction do we want to give pan-African cinema?
           st
       21 century policy on the conscious industrialization of pan-African cinema (challenge);
       Rapid digitization of production systems (challenge);
       Transforming the pan-African market: how to make it viable economically and socially?
        How do we encourage public institutions to create platforms to showcase our products?

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       Quality of education; creating innovative ways of education: e.g. sending young film-makers to
        live in rural areas so they get a better understanding of their audiences and their stories;
       There is a tendency to study film in formal institutions and not enough importance is accorded
        to the technical areas of film-making; as such there is a lack of technicians: proposal that this
        work could be acknowledged as a profession?
       Proposal to create guilds;
       It was noted that short courses are important, especially for film-makers with no formal
        education;
       Funding of film-schools;
       Finally, there was a proposal that FEPACI create a repository of products that could be used for
        research and be made available to film-makers and scholars;

Recommendations

       Curriculum development must include an alignment of practical and theoretical knowledge.
       Consider lecturers’ circuits; time-table alignment to facilitate inter-institutional programmes;
       DVD packages of lecturers to distribute to students and schools;
       Internships and apprenticeships must play an important role when developing curricula;
       Curricula should enable graduates to enter the job market;
       Teachers must be qualified with relevant degree; work experience should be taken into
        account;
       Entry level certificate required for under-graduates;
       Schools should collaborate more with each other;
       Marketing partnerships;
       Curricula developers should at look at copyright for students;
       Look at innovative ways of funding film schools;
       Address shortage of teachers;
       Curricula developers should look government funding for film schools;
       Business studies should be included in curricula development;
       Curriculum must address all levels of film education;

DAY 2

The day opened with two presentations from the Namibian industry;

Ms. Elva de Sibandze, a senior lecturer at the Polytechnic of Namibia, noted that the institution is
currently developing a Bachelor and Bachelor Honours degrees in film and communications. She noted
that curricula should also be outcomes-based. She said there is also a need to align courses to make
them better-suited for students from different backgrounds, given the cultural and ethnic diversity in
many African countries. She also emphasized the need for shorter courses. She said a clear definition of
“African content” must be made because several stories told by Africans focus on negative issues such
as poverty, abuse, etc. The dilemma, she said, as whether such stories should be silenced.

 Mr. Ted Scott noted that most of the products of his school (Media Arts Technology Studies School)
were mainly absorbed by the television industry and the public relations field. He also emphasized the
importance of considering the audience for which films are made. He said there should be rapid
digitization of production systems. Like other speakers, Scott raised the concern that there was a lack of
technicians in the film industry in Namibia.




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BREAKAWAY GROUPS

Break Away Committee 1
Chairperson – Mr Imruh Bakari

Committee Members
   1. Mr Chande Omar
   2. Mr Vukani Maziya
   3. Mr Michel Ouedraogo
   4. Mr Mariano Antonio Bartololomiew
   5. Mr Yezi Abdon
   6. Vickson Hangula
   7. Peter Denk
   8. Mr Florian Schatteur

Topic – What is the market perception of Film Learning Institutions?

Issues for discussion

        Does industry offer practical training to interns and graduate students? If so, how does this
         happen and how is the impact measured?
        Do industry professionals/practitioners teach at film schools?
        In your view, are there quality standards for film education (certification)?
        Are there applied knowledge assessments of graduates from public/private film institutions?
        What percentage of and how many film school graduates are integrated in mainstream
         industry?

Report Back

Overall Perception of the Industry

Their varying perceptions depending on level of production, quality of training and participation of
government in the industry that exists.

The industry in the region is exists and is growing but at different levels . The television industry remains
more predominant, and could play a pivotal role towards growing the industry. There are trends that
suggest that outside interests also have significant influence on how the industry grows and is
perceieved: the needs to service foreign crews and international productions.

The non existence of cinema is very evident. Where it does exist, comparatively it has low patronage.

National broadcasters (Angola, Zambia and Namibia) have recently gone into commissioning briefs

Does Industry offer practical training?

        The picture is mixed and largely dependent on specific country developments. However, the
         trends indicate that industry is providing training to graduates – especially in countries where
         the industry is more developed (e.g. South Africa, Namibia and Tanzania. It may not be
         necessary the case in Zambia and Swaziland (emerging industry) or Nigeria (where it is more
         business-driven);
        It should, however, also be noted that most graduates of film have difficulties in getting jobs
         and work as volunteers;
        There is also a trend that has seen most graduates have gone into forming their own
         production (houses) on completion of training
        The discussion acknowledged the emerging opportunities arising from countries who are
         hosting foreign production companies. In some countries there are no policies to compel these


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        companies to work with local human resource in the industry though this provides good
        opportunities for practical training;
       The group saw opportunities for promoting internships and apprenticeships as ways of
        increasing training in the industry.
       There is valuable experience for young graduates to be part of the film making process;

Industry Teaching/Training in Schools

       There are emerging links and partnerships for teaching by professionals and practitioners
        training in schools. This is in the form of guest lectures, apprenticeship, internship;
       External training has also come to bear during workshops;
       In some cases the industry has provided part-time and full-time lectures. There has, however,
        been a limitation in drawing this experience and skills due to lack of financial

Quality Standards and Training

       Most graduates are very good theoretically, but that does not practically make them to
        compete effectively. Training which is so much theory-focused, lack of equipment, lack of
        trained lecturers has negatively impacted on the products and ultimately on the industry.

Assessments

       Most assessments are based on areas of training for the graduates. In the training institutions
        most of it is either theory or practical-based. In areas of production, assessment is done of the
        individual as part of the group-project (this takes into account of the limited resources for
        individual projects)
       Efforts are being made to develop assessments designed jointly by industry and training
        institutions. It is happening in countries like Namibia but it still has to yield results

Percentage of Graduates in the industry

       Trends indicate that there is a significant number of graduates going into the industry though
        this depends on the growth and development of the industry;
       Industry absorbs between 5-8% of the graduates. However, most graduates have gone into TV
        production and into other media-related industry, mostly public relations.

Recommendations:

       Broadcasters must support the industry by commissioning and co-producing with film makers
       There should be film industry policies to engage graduates and facilitate training in all areas.
       Broadcasters, independent producers, and international companies should be committed to
        engage trained personnel and facilitate training.
       There should be a policy to share facilities and to collaborate across counties and encourage co-
        productions.

Breakaway Committee 2
Chairperson – Masepeke Sekhukhuni

Committee Members
   1. Professor D Kerr
   2. Dr. Augustine Hatar
   3. Mr Pedro Manuel Francisco
   4. Mr Sidney Kankuzi
   5. Mr Martin Loh
   6. Mandla Dube
   7. Gomez de Sibanze
   8. Mr Chishaba Masengu

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    Topic - What is being taught? Who teaches and is there any collaborative work between institutions?

    Issues for discussion
          Give brief description of modules that are there
          What are gaps identified?
             What technologies are being used and why?
          What is the criterion used to select teachers?
          What is the selection criterion used for enrolment?
          What training institutions are twinned and why?
          Do film schools have instructor or student exchange and programmes?
          How can collaboration be started or improved?

Modules:
          Dr Augustine Hatar (Tanzania) Univ. Dare salaam: BA Mass Communication and students is
           expected to be introduced to communication skills. Students are given a broad overview of
           other subjects within Humanities (Economics, geography etc.) production oriented. The
                                                                          nd
           university degree is wider so film & television. End of 1st & 2 yr internship with communities
           in living with families and supposed to shoot the experience. On internships Students keep
           diaries, write a report and a video shoot that they may have done. No stipend from the
           employer but the government does give a living allowance if they are on a bursary. The
           government one is a loan.

          Prof. David Kerr (Botswana): University of Botswana in transition toward faculty of humanities
                                                                                 st
           bachelor of media studies 4 year programs no prior experience. 1 two years they are exposed
           to all the streams: radio, print, television, PR & video film. Digital technology & basic film
           techniques. 88 credits of media studies end is a BA in Media studies. Final year production
                                                                                          rd
           related. 4-week internship at end of level 2. 12-week internship at end of 3 yr. Students choose
           their area of internship. Employer fills in a questionnaire on the student’s experience, student
           brings back a portfolio if they did individual work. No stipend from the employer but the
           government does give a living allowance if they are on a bursary.
          Mr Chishaba Masengu (Zambia): 1 yr certificate course in journalism, 3 yr diploma in journalism
           (more detailed) given skills using TV, print & radio. 1 yr course in TV production. Come in to train
           on how to make programs for TV. Currently attempting to give introduction to camera handling,
           scriptwriting, budgeting and editing. Understanding the process of collaboration. Internship
           Questionnaire and report is given on their return. The dean discusses the report with the
           students and a credit is given out of that. No payment.
          Pedro Manuel Francisco (Angola): In job training centre: journalists come in for short courses.
           Radio, press. 4 yr Pre University course from their students can choose to specialize. Tertiary
           level is the 4yr Mass Communication BA degree, which covers Film, TV & radio. Modules cover
           general courses in Humanities. There’s no internship for the journalist centre because they are
           training at work. 4 yr Pre University. Students do 2 wk. internship, which they arrange on their
           own. Write report and give interviews and keep diaries.
          Martin Loh (Ghana): 4yr BFA degree in affiliation with University of Ghana. Professional
           programs in film & TV. (Scriptwriting, directing, editing animation, production management, art
                                                 st    nd
           direction.) Areas of specialization. 1 & 2 yr is general courses with a liberal studies program.
                                                                                      rd     th      nd
           3yrd & 4yr areas of specialization. Total Collaboration takes place in 3 & 4 yr. 2 yr 3 weeks
           orientation in rural areas, 3yr 8 weeks in industry, 4th yr graduation film & thesis. Internship
           Questionnaire and report is given on their return. The dean discusses the report with the
           students and a credit is given out of that. No payment.
                                                                                                st
          Raymond Tiendrebeogo (Burkina Faso): Institute of Superior Image & Sound: 1 yr is common
                          nd
           course and 2 yr is specialization. In specialization is IT, creation of DVD, website, editing,
           sound, shooting, cinematography, sound mixing, maintenance, and initiation into HD,
           production: documentary, fiction, multi camera, and scriptwriting. Liberal studies courses.
                                                                                                  st      nd
           Business Film, Function of Music in film, directing the actor. 1-month internship 1 yr and 2 yr.
           Report and close monitored, No stipend
                                                                                                              st
          Masepeke Sekhukhuni (South Africa): NFTS (Newtown film and TV School) 3yrs programme. 1
           yr general introduction to all areas of film production and theory Life skills programme including

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                                                                                                               nd
              communication skills (English, presentations skills, IT) Theme: Television and documentary 2
                   nd                                                                           rd
              yr: 2 Semester students ready for electives 6 weeks internship Theme: drama 3 yr: .26 min
              graduation film (documentary or drama) And dissertation 6month industry internship

Gaps:

    1.    Skills level of job entry
    2.    Insufficient equipment and facilities and period. (Depending on availability institutions partner with
          industry)
    3.    Some institutions are ahead of others in the structure of curricula. Depending on the focus area of
          the school.
    4.    Lack of exposure to film & TV by some candidates.

Technology Used:

     1.  Because of inadequate equipment transition is still slow.
     2.  Most Archives are still analog.
     3.  35mm, 16mm, HD & Digital are used depending budgets and the needs of the sponsoring countries.
         (Some still the traditional approach)
Teacher Selection:

     1.   In universities key lectures must be qualified with a Master Degree. Provisions are also made for
          supporting staff that have work experience.
     2.   Specialized schools focus skills and the experience.
     3.   Training the trainer programs are available as well at specialized schools for all the staff regardless
          of qualification.
     4.   Master Classes are given from visiting lecturers.

Selection of Students;

     1.   Must have secondary level education.
     2.   Entry level examination (written & aptitude test)
     3.   English is emphasized as the language
     4.   Samples of previous work done (Portfolio)
     5.   Affirmative action. Gender & regional.
     6.   Quotas for foreign students.

No Twinning but:

     1.   Links applicable through instructor or student exchange programs.
     2.   Some Universities have MOU’s: training staff, book supply & equipment. E.g. France, Finland,
          Belgium exchange of students & instructors.
     3.   HIV/AIDS: media partnership toward illnesses & poverty.

Collaboration:

     1.   Networking can improved through funding.
     2.   Initiating projects for Co- Production
     3.   Pan African students film festival needs to be strengthened.
     4.   Workshops and discussions
     5.   Regional collaboration necessary: challenges are funds.
     6.   ANIWA: under threat must rescue 2wks. Participation of students & teachers is critical, but it is
          lacking.
     7.   Role of government in supporting the youth development. Taking film schools and visual literacy
          more serious. Regional Organizations: NEPAD, African Renaissance, AU and ECOWAS, SADC and
          EAC.


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    8.   Private Public Partnership: commercial wings are a necessity. Short courses for advanced training
         etc.
    9.   Marketing & Technology Partnerships toward a virtual web cast channel using archives: MTN,
         MNET, SONY, Microsoft, Shuttle worth Foundation, IPTV Cable etc.

Recommendations:

            Role of government in supporting the youth development. Taking film schools and visual
             literacy more serious. Regional Organizations: NEPAD, African Renaissance, AU and ECOWAS,
             SADC and EAC.
            Private Public Partnership: commercial wings are a necessity. Short courses for advanced
             training etc.
            Marketing & Technology Partnerships toward a virtual web cast channel using archives: MTN,
             MNET, SONY, Microsoft, Shuttle worth Foundation, IPTV Cable etc.
                  o 35mm, 16mm, HD & Digital are used depending budgets and the needs of the
                       sponsoring countries. (Some still the traditional approach)
            Funding models:
                  o Broadcasters funding students & their productions
                  o African Student Film Fund:
            Curricula should take account of outputs with respect to professional requirements
            Film curricula should include relevant disciplines such as history, sociology that enrich students’
             knowledge of and about Africa.
            Curricula should encourage knowledge-sharing, links and exchange experiences.
            All internships should be clearly monitored with supervisors reports and interns own reports
             and diaries.
            Fepaci should support funding for government, foundations and other donors (such as
             vodacom, and bill and Melinda Gates foundation) for film training.
            Teaching staff should include both practitioners and academics.
            Curricula need to be supported through training of trainers’ programmes.

    Breakaway Committee 3
    Chairperson – Bata Passchier

    Committee Members
            Ms Musula Catherine Kaseketi
            Tambudzai Madzimure
            Mr Moussa Ouane
            Mr Clarence Hamilton
            Mr Molland Nkatha
            Edwin Kangautjivi

    Topic – Who invests in film schools?

    Issues for discussion

            What infrastructural capacities and resources exist?
            Who funds infrastructural development and resources?
            Is there discrepancy in infrastructural development between the privately owned film
             institutions and public funded film institutions?
            If discrepancy exists, be it financial or creative, how major or minimal is it?
            Does government invest sufficient resources in the industry and in particular in particular in
             public training institutions?
            The National Film and Video Foundation in South Africa give film institutions students’ grants.
             Are there similar support systems in other SADC countries?
            What percentage of the national budget is allocated to national public funded film schools?
            What are funding incentive models for privately owned film schools?


    12 | P a g e
The members of this committee were from; Namibia, South Africa, Zambia, Zimbabwe, Malawi, and
Burkina Faso.

In response to, who invests in films schools?
     1. Government in forms of loans, grants and scholarships and private sectors as well as students
         fees. Namibia has a Fulbright and Humphrey Scholar ship through American Culture Centre. The
         college of the arts also gives scholarships. The film commission assists students financially.
     2. There are some infrastructures but underutilized i.e.
              a. Zimbabwe where there is fully equipped school not in use
              b. Namibia; its formal government funded and informal training students working at film
                  productions
              c. Burkina Faso has one government owned and privately owned school by Gaston
                  Kabore both fully equipped
              d. Malawi is a government owned fully equipped and train their own staff abroad
              e. South Africa has state of the arts Hollywood equipments
              f. Zambia has no film school at all
     3. In South Africa there is huge difference between the privately owned film institutions and
         public funded film institutions but in Burkina Faso they are both equally equipped and in to her
         countries there are no private film schools/Institutions
     4. Government doesn’t sufficiently invest in the industry both financially, structurally, training or
         regulations
     5. Only Namibia and South Africa that have structures that give film institutions grants and that is
         also minimal
     6. There is no funding for national film schools although there is some funding for polytechnic
         and universities that offer media related courses
     7. There are no funding incentives what o ever for privately owned film schools

Recommendations

       Investigate the feasibility setting up of a Lecturer’s circuit for the SADC region, including
        alignment of timetable, assessment alignment, qualification standards and facilitation of work
        permits. This would need to be given formal funding for all expenses covered by government
        and parastatals with time-table alignment of various institutions in order to facilitate inter-
        institutional activities
       Raise funds for the production of instructional DVD which incorporates top academic and
        professionals from the continent providing a focused learning for film and media students. The
        DVD package could be distributed to all schools; partner with CILECT as there is need for funds
        to undertake the project. AFDA has already raised R150k in 2004 but now the project needs
        R600k = $90k. This fits in well with FEPACI repository
       Incubation idea – could it be introduced to assist graduates as well as training institutions
       Conduct research survey on the questions of the symposium and access answers from all
        countries of the region to get a unified perspective on film production, education and funding,
        including the mobility of professionals for cross border productions.
       To draw up a charter of recommended educational requirements for foreign productions
        operating in countries on the continent in order to access specialised education, facilities and
        equipment through a structured intern programme that will articulate and channel with formal
        institutions of each country.

Breakaway Committee 4
Chairperson – Mr. Pheko Mathibeli

Committee Members
    Dr Roukaya Kassenally
    Ms Maria Angela Kane
    Dr Maude Dikobe
    Professor Patrick Ebewo
    Professor Jyoti Mistry

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Topic - What is the curriculum?

Issues for discussion

           Is the curriculum for film schools set by a national governing board or by each institution?
           What are the basic components of curriculum and what is it that should be included in it?
           How is the quality of modules assessed against the technological and competitive requirements
            of modern day filmmaking?
           Is there an umbrella body that monitors the quality and the relevance of curriculum?
           Do curricular vary between film schools?
           Whose point of view, creative reference and aesthetic reference is it?

Recommendations

General structure content but specific;
Outcome standards that is generic:

             General structure content but specific;
             Outcome standards that is generic:
             Continental Content that is specific to country level in response to local indigenous needs;
             Creation of an umbrella body with a mandate to monitor current relevance and quality –
              comprised of critical stakeholders;
             Create networking forums to develop: common strategies, exchange programmes,
              workshops, conferencing, content and best practice, database
             Build a system of mentorship for film educators and practitioners: film education
              practitioners, industry practitioners, alumni.
             Regional institutional competitions (SADC) then taken to a pan-African level.

THE SOUTHERN REGION CURRICULUM ADVISORY PANEL

The four working committees were requested to nominate three people that would form the core group
of five people to take project forward. The nominations were based on the following criteria:

           Practitioners with hands-on industry experience;

           Strong academic background in related industry;

           Experience and expertise in curricula development;

           Experience in international film ad media institutions;

           Market representatives, i.e. broadcasters, etc.

Nominations

Group 1                                                       Group 3
IMRUH BAKARI (Caribbean)                                      TED SCOTT (Namibia)
AMINATA OUEDRAOGO (Burkina)                                   BATA PASSCHIER (South Africa)
YEZI ABDON (Zambia)
                                                              Group 4
Group 2                                                       MOTSUMI MAKHENE (South Africa)
RAYMOND TIENDREBEOGO (Burkina)                                DR. MAUDE DIKOBE (Botswana)
MASPEKE SEKHUKHUNI (South Africa)                             ELVA GOMEZ (Namibia)
                                                              PROF. JYOTI MISTRY (South Africa)



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CONCLUSION

It was concluded that FEPACI should, using the criteria that was set for selecting the advisory panel,
select the five people that will take the job forward in achieving the recommendations of that were
made at the symposium and reaching the resolutions in consultation with other participants.

As way forward, it was concluded that FEPACI research and Education manager will work closely with
this committee in order to send through communiqué and administer the meetings of the advisory
committee.

FEPACI will therefore coordinate the first meeting of the panel in working towards reaching the
resolutions and achieving the goal.




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