2006 Edition 2 (Issue 144) - Sasmt-savmo.org.za

we can learn from these highly successful music educators.
And thus for our edification Faan Malan was asked a
battery of questions.
Did you think long and hard before starting KAM? Was
any research (like feasibility studies) done? Did you
speak to many other people, or did you quickly do an
MBA? Business plan?
We were forced to make a quick decision. We were all employed
in Taung, when the political uprising made it impossible
to do our work. Kimberley was simply the nearest
big centre and we did some planning and market research.
In March 1994 we called all the Kimberley music teachers
to a meeting in the Teachers’ Centre and told them what
we had in mind and we asked their blessing. The rest is
history. No one did an MBA — maybe later.
Did KAM have trouble with finding and retaining learners?
Did you advertise? How?
We had the blessing of the music teachers in town. They
gave us all the support we needed. The people of Kimberley
also accepted us with open arms. All we had to do was
to make sure we offer quality tuition. Word-of-mouth was
(and still is) the main method of advertising.
Which relationships did you build with other stakeholders
such as schools and local government? Did you have
suitable contacts, or a network of supporters in important
places? Can you provide advice to others who will
attempt something similar?
Government was in turmoil at this time (1994). We had to
rely on basics such as good service, honesty and co-operation
with schools. The network of supporters and contacts
followed.
Did you find that the institution had to adapt to a
changing environment? What are some of the external
pressures that you have (had) to contend with?
Today, almost 13 years later, the Kimberley Academy of
Music is a completely different institution. From a private
music school with only a small number of staff and students,
we are now the Music Faculty of the National Institute
for Higher Education in the Northern Cape, with 700
students and 14 staff members.
There are numerous external pressures. Classical music
has to compete with sport and all sorts of instant entertainment.
Due to our efforts, several schools in Kimberley
now have their own music programmes, orchestras,
choirs, shows, etc. We have to compete for a slice of the
‘time cake’. Then there is money. Tuition fees had to be
high to make it worthwhile for our teachers.
How did you (and the rest of your staff) deal with the
uncertainties that accompany the start of a new venture?
What were some of the risks that you had to take?
Initially we were only three teachers. It is important not
to spend too much initially on setting up. We hired classrooms
at a junior school in the afternoons for a few months
before investing in property for our venture. We initially
invested much time and enthusiasm (rather than money)
and quickly built up a clientele. The quicker our student
numbers grew, the more secure we felt. We felt very confident
that we could make a success of starting and running
such a music school — there were no uncertainties that I
can remember.
Where there any unsuspected opportunities that helped
KAM along the way?
The establishment of the National Institute for Higher
Education (NIHE) in the Northern Cape had a major influence
on the development of KAM. This changed our
direction and scope by introducing an exciting era of tertiary
studies.
Do you have strategies to find out what learners and
parents think? To what extent are they partners in planning
and executing activities such as rehearsals and
concerts? Or are they simply executing orders?
The only strategy we follow is one of personal contact. We
often talk to our clients and establish what their needs are
in an informal way. Very often it becomes necessary to tell
them what to do.
How important is it for your staff members to be good
role models? What specific things do they do? Are they
involved in continued professional development?
Very important. We have staff concerts and play in ensembles
and bands together with students. Most of the staff
members are busy studying something and attend related
workshops regularly. Skills development is a pre-requisite
for employment at the Academy of Music.
Are their certain processes in place to ensure shared
ownership of the institution?
The Kimberley Academy of Music is a Section 21 (nonprofit
making) Company. Five of the seven board members
are staff members.
How do you find and keep the continued support of
your community?
We offer services to schools such as help and support for
choirs, orchestras, school concerts and musical productions.
Our staff and students perform at various community
based events. We try to stay in the public eye.
How did you ensure that your institution created profit?
How did you establish the lesson fees?
Creating a profit was never the goal of this project. Making
enough money to pay salaries and necessary expenses was
the aim. Income (lesson fees) was worked out by deciding
how much a teacher should earn. An average is 25 hours
teaching (50 X 30min lessons)
Teachers were paid 90% of this income as salary and were
responsible for their own tax and the other 10% was used
for Academy expenses. This budget did not allow for anything
but the absolute necessities – luxuries were OUT as
we put the emphasis on the standard of education and our
relationships with clients. This scenario is based on the
Academy when it was totally private — before the merger
with NIHE.
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006