Appendix 6 - International Music Council

for tourists”. (A whole list of such cultural villages and excursions is available in Van
Graan and Ballantyne 2002: 409ff.)
II.3 South Africa also has an extensive system of SETAs – Sector Education and
Training Authorities. In the arts field the MAPPPSeta (Media, Advertising, Publishing,
Printing and Packaging – under which Music falls; consult their website
http://www.mappp-seta.co.za) has paid for the development of some skills development
programmes in music, notably at levels 3 and 4. These are being used (and further
developed) by a Mr Garth Farrant, who, together with Feenstra serves on the Music
Standards Generating Body (SGB) 6 , as Secretary. The MAPPPSeta’s spin-off CreateSA
was a MapppSeta 3 year project started to deal with the Arts programmes/providers given
to the Seta to run. These providers/programmes have been incorporated into the Seta as a
chapter on its own. “We (note: information obtained directly from Farrant, as informant)
have just finished our fourth Mappp-seta funded learnership in Sound Technology (3) and
Technical Production (1). These qualifications were developed by the SGB and we are
currently finalising NQF 2 & 3”. Van Graan and Ballantyne (2002: 237) note that the
MAPPPSeta “will assist organisations, which form part of its constituency, to raise the
skills levels of the sector so as to make it more competitive and sustainable in the global
market”.
II.4 Mandla Tchebwa (2005: 45) “draw(s) up an inventory of new African music genres
from a commercial point of view”, noting that “On the music industry level, one notices
the existence of a few CD manufacturers (between five and eight), most of them falling in
South Africa,and some fifty-odd recording studios (90 per cent of them falling under the
‘home studio’ category) … Analysing the figures provided by the International
Federation of the Phonographic Industry (IFPI), one also sees that Africa represents 0.4
per cent of the world market for sound media. The few countries that stand out from
these statistics are Ghana, South Africa and Zimbabwe”. Tchebwa also gives the average
number of ‘internationally recognized celebrities’ per country as in the order of 22 per
cent for South Africa, with the next closest competitor being the Democratic Republic of
the Congo at only 8 per cent. These music industry aspects are important to this
questionnaire, in the light of the statement Tchebwa (2005: 53) makes that “When all is
said and done, African music today is made up of a new generation of cultural
entrepreneurs who have taken over the reigns of the music industry”. Although many
South Africans themselves might dispute Tchebwa’s claim (2005: 52) that “With the
exception of South Africa, where the music industry appears to enjoy the best conditions
for expansion (virtual absence of piracy, a macroeconomic structure that creates security,
6 The Music Standards Generating Body falls under the South African Qualifications Authority (SAQA).
The work done there finally becomes legislation. The first qualifications to be registered in music were, in
fact, music industry-related, and, being registered on the NLRD (National Learners’ Record Database),
could then be funded by the MAPPP-Seta as learnerships.
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