CASE STUDIES FROM AFRICA

In 2012, foreign visitors to national museums accounted for approximately one fourth of all
visitors, but contributed almost half of revenues. Due to climate control problems at the Music
Museum for a period of few years, a necessary relocation has unfortunately impacted
negatively its number of visitors. A loss of at least a thousand international visitors per year has
been observed since 2011.
Table 26: Evolution of Admissions and Receipts at the Main National Museums (CFAF
millions)
2004 2005 2006 2007 2008 2009 2010 2011 2012
856 2591 2532 2902 3411 4479 6693 4845 6461
Tourists
28% 50% 33% 39% 45% 21% 25% 22% 25%
Admissions
Students 1616 997 2064 1854 1752 3227 6731 5454 6983
Others 634 1641 2966 2647 2470 14000 13663 12048 12838
Tourists
€ 1305 € 3950 € 3860 € 4424 € 5200 € 6828 € 10203 € 7387 € 9850
54% 71% 56% 62% 67% 36% 44% 40% 44%
Revenues Students € 616 € 380 € 787 € 707 € 668 € 1230 € 2565 € 2079 € 2661
Others € 483 € 1251 € 2261 € 2018 € 1883 € 10672 € 10415 € 9183 € 9785
Total € 2405 € 5581 € 6908 € 7149 € 7751 € 18730 € 23184 € 18649 € 22298
Source: Ministry of Culture and Tourism (2012), Annuaire statistique.
While the top eight museums earn approximately € 20,000 per year, an estimate of the total
revenue from this sector should be around € 73,000 in 2012 (see Table 19). In the absence of
attractive derivative products, the impact of museums on the local economy depends mostly on
entrance fees.
Schools and Theatre Classes in Burkina Faso. Since most of classes taught in Burkina Faso
were founded on the principle of free access to all, direct revenues generated by schools and
theatre come chiefly from the technical and financial partners. The example of Engagement
Féminin—a project launched in 2008 by the dance company, Auguste of Ouagadogou (Burkina
Faso) and the Association Wa Tid Saou of Bordeaux (France), with support from the CDC—
illustrates this trend. Five editions of the programme have been successfully completed. The
initiative was established in response to the reality that, despite the growth of contemporary
dance on the African continent in recent years, female dancers and choreographers have been
largely conspicuous by their absence. Engagement Féminin thus provides a framework for
female artists of the West African subregion to access training, artist residencies, and
performance tours. By doing so, it enables and encourages freedom of artistic and cultural
expression, as recognised by the UNESCO Convention. Engagement Féminin may be seen as an
innovative model for artistic and economic empowerment of under-represented artists, and
with potential for replication in other artistic disciplines such as music, film, and the visual arts.
However, fees are covered by the foreign technical partners. An assumption here is that
revenues generated by schools and training institutions simply correspond to their budgets.
Eight of the major public and private schools and institutions agreed to provide their budgets
for the year 2012. All together, these schools and institutions managed an amount of CFAF 1.2
billion (€ 1.8 million) for 380 full-time students and a large number of participants in short-time
training or workshops. The situation is approximately identical in the theatre sector. The
interview of the five major theatres in Ouagadougou indicated estimated revenue of CFAF 280
million for all of them. The extrapolation of this information to the entire sector is about
CFAF 388 million (€ 589,000).
248