The workshop will take place at the Dance Forum in Newtown, Johannesburg, from 2 to 5 February and from 22 to 23 February 2016.
Application Deadline: 8 January 2016
The aim of the dance writing workshop is to identify new contemporary dance writers and provide them with the tools and confidence to engage with the works at the Dance Umbrella 2016, which will run from February 25 to March 6, at various Johannesburg venues. The workshop also presents a platform for established arts writers to consider different aspects of contemporary dance, exchange ideas with each other and deepen their understanding of the event.
As per the last several iterations of the workshop, a focus will be set on a pertinent issue in contemporary dance that relates to the Dance Umbrella programme of that year. Given the number of international works and the collaborative nature of many of them in the upcoming Dance Umbrella festival, the title of the 2016 workshop is Beyond Borders: Making art across disciplines and geographic boundaries. As such the emphasis is on collaboration and breaking boundaries; national, geographic ones, but also those that divide disciplines. Specialists in writing, dance and other creative industries will be invited for focused discussions.
Who can apply? Aspiring and established South African arts writers who want to benefit from the workshop, mentorship, the discussions and the exposure before and during Dance Umbrella festival.
How to apply? Applicants should submit a minimum of two journalistic texts that are at least 500 words and no longer than 2,500 along with a copy of their CV and a short motivation outlining their interests and future ambitions. These should be e-mailed to firstname.lastname@example.org. Application deadline is 8 January 2016.
Terms and conditions: Successful applicants will be provided with a R 5,000 stipend for the period from when the workshop begins to the conclusion of Dance Umbrella 2016. During this time they will be expected to produce texts about the works on the event. Selected texts will be published in mainstream platforms, niche art online platforms, and the Dance Umbrella Gazette. A return flight or bus ticket can be provided for successful applicants from outside Gauteng, however they must arrange for accommodation during the time of the workshop on their own. Participants will be selected based on their submissions and a short telephonic or face-to-face interview. Feedback on applications will be given by 15 January latest. Dates and outline of the workshop:
Theme of the workshop:
Beyond Borders: Making art across disciplines and geographic boundaries
First Session: Tuesday February 2 10am to 1pm
Introduction to dance writing: Participants introduce themselves and outline their relationship to dance. The basics about dance writing will be discussed: What is contemporary dance? Why write about it, how do you write about it? Who is the audience for dance reviews? An arts media specialist will be invited to join the discussion in the last hour.
Second Session: Wednesday February 3 10am to 1pm:
Introduction to the role of collaboration in contemporary dance: is all dance collaborative? With this question in mind we will preview some archival material from previous DU performances and two dance practitioners will be invited to address this question in the last hour of the session.
Third & Fourth Sessions: Thursday February 4 10am to 1pm & Friday February 5 10am to 1pm:
Collaborating across disciplines. In these sessions we will look at how fashion designers, musicians and filmmakers have worked with contemporary dancers shaping their expression and the final products. We will review some archive material and invite a fashion designer and filmmaker and/or musician to join the discussion.
Fifth Session: Monday February 22 10 to 1pm
Across Borders: during this session the focus will be on collaborations between artists from different countries or artists creating work during residencies in different countries. Once again archive material will be reviewed and two dance practitioners who have experience with this will be invited to the discussion.
Final Session: Tuesday February 23 6pm to 8.30pm
The final session of the Dance Writer's Workshop will culminate in a panel discussion and open dialogue centred on the nature and politics of collaborations across disciplines and artists from different nations, cultural groups. Dancers, choreographers, visual artists, musicians, filmmakers, costume designers from SA and abroad will be on the panel but are also encouraged to attend. The event is open to the public and will introduce this year's international artists and works that will be staged during Dance Umbrella 2016
About the Facilitator:
Mary Corrigall is a Joburg-based arts commentator, consultant and curator. She was an art critic at The Sunday Independent newspaper for over a decade. She pursued academic research in performance art for The Research Centre for Visual Identities in Art and Design at the University of Johannesburg. Her articles have been widely published in newspapers across the country as well as local and international art publications and peer-reviewed journals. She has been nominated for a number of awards and won a CNN African Journalism award in 2007 and was awarded the Thomas Pringle Award for Reviews in 2009 and 2011. The European Commission awarded Corrigall a Lorenzo Natali Award for Journalism in 2009. She is dedicated to developing art writing in South Africa and to achieve this she founded the South African Arts Writers and Critics Association (SAAWCA). In this capacity she initiated the SAAWCA Arts Writers Mentorship Programme, through which she mentored young art writers.
About the Organisers:
The Goethe-Institut is the cultural institute of the Federal Republic of Germany with a global reach, promoting knowledge of the German language abroad and fostering international cultural cooperation. Its regional office in Johannesburg particularly aims to broaden and deepen cooperation and global networks in the arts, and to further a South-South and Pan-African conversation. The Goethe-Institut is happy to continue its long-standing partnership with the Dance Umbrella festival.
The U.S. Commercial Service South Africa (CSSA), in cooperation with the National Broadcasters Association (NAB) ®, invites you to register as a delegate for NAB 2016. The 2016 NAB Show will be the 93rd consecutive NAB event. NAB Show, held annually in Las Vegas, is the world's largest and most important media and entertainment event covering content creation, management and delivery across all platforms and mediums. With nearly 100,000 Attendees representing 159 countries, more than 1,700 Exhibitors and 500 educational sessions, NAB Show is the ultimate marketplace for media and entertainment. NAB Show attracts a broad cross-section of professionals from all areas of the media and entertainment industries and supports their business needs through comprehensive exhibits, networking events and extensive educational programs covering engineering, production, post-production, management, sales, marketing, policy, regulation and emerging technologies.
Attendees representing every sector of the industry will be there. Broadcast, Digital Media, Film, Entertainment, Telecom, Post-Production, Education, Houses of Worship, Advertising, Military/Government, Retail, Security, Sports, IT and more converge in Las Vegas to feed the need of next-generation content.
In spite of it being a singularly important documentary and text in South Africa's socio-political landscape, and thousands of calls by ordinary people for it to be screened on our national public broadcaster, the SABC, and e-tv, it has yet to make it into our screens.
As we celebrate this powerful film and applaud all involved in its production, let's also take a moment to add our names to the thousands who have demanded that it be screened by our free-to-air broadcasters.
The annual Durban International Film Festival (DIFF) and the Durban FilmMart (DFM) have announced the dates for next year’s editions, which take place almost a month earlier than the usual July dates. The DIFF will now take place from June 16 to 26, 2016 while the DFM will take place from 17 to 20 June, 2016.
The events have been rescheduled due to a clash with the 21st International Aids Conference, which takes place at the end of Jul 2016. The AIDS conference will be using both the Elangeni and Maharani hotels, which are traditionally used as a festival and market hub. DIFF is hosted by the University of KwaZulu-Natal’s Centre for Creative Arts and 2016 will mark its 37th edition. “Although it will require some concerted communication efforts, we are positive about the move to June,” says Kishore Gobardan Director of Professional Services in the College of Humanities at UKZN in which the CCA is housed. “The festival will now open on the Youth Day, which may free up people to take advantage of a possible long weekend, and creates thematic opportunities for the festival to look at the role of youth within the industry.” The DFM is a joint project of the eThekwini Municipality’s industry arm, the Durban Film Office and the DIFF, and 2016 marks its 7th edition. Toni Monty the Head of Durban Film Office says, “This may work well in favour of the DFM and DIFF because it is just before the July summer holidays in Europe which is traditionally used as a recess period for film-makers, and that often impacts on their availability in July.” The DIFF will soon be calling for submissions for the 2016 edition while the Durban FilmMart has already made a call for submissions of film projects with the due date being December 14, 2015. The 9th Talents Durban the intensive programme of seminars, hands-on training, workshops and industry networking activities in partnership with Berlinale Talents will take place from June 17-21, 2016. For further information about the DIFF go to www.durbanfilmfestival.co.za and for the DFM go to www.durbanfilmmart.co.za. FESTIVAL ENQUIRIES: Phone: +27 (0)31 260 2506/1816 Fax: +27 (0)31 260 3074 Email: email@example.com The festival is hosted by the Centre for Creative Arts, University of KwaZulu-Natal and is supported by the National Film and Video Foundation (NFVF), the KwaZulu-Natal Department of Economic Development and Tourism, the KwaZulu-Natal Film Commission, the City of Durban and other valued funders and partners. Press release by and media queries: Sharlene Versfeld Versfeld & Associates: The Communication Works +27 (0)31 811 5628 +27 (0)83 326 3235 mailto:firstname.lastname@example.org Twitter @sharlvers
38th edition: 18-27 March 2016 The Festival International de Films de Femmes - hosted at the Maison des Arts de Créteil in France - is a one-of-the-kind annual film event, a major worldwide showcase for women filmmakers. As a privileged platform for filmmakers, it has become over the years the most important professional event on major international women’s cinema d’ auteur, long-time discriminated and still poorly distributed. The Festival was created in 1979 at a time when women filmmakers began to make their voices heard. From this date on, the Festival serves these independent directors as they take their first steps and as they continue their journey into their own cinematographic commitment. Product of the seventies feminist movement since its creation, the Festival has been the heir to two schools of thought.
The feminist movement, with the conviction that women exist as human beings, but also as members of society.
From the start, the Festival was committed to women filmmaker as artists.
Thus during the last 38 years, we have been dedicated to women filmmakers, actresses, authors, film technicians. We supported their research and highly praised their innovations, their standpoints and their commitments. These women filmmakers have often made it their priority to explore the outreach of human qualities through both their female and male characters, questioning gender matters in rich, multiple portraits that respond to our needs of identification according to a range of essential liberating issues. Even today at the threshold of its thirty eighth edition, the Festival continues to astound by the quality of both the films it presents and the laboratory for expression it has created. Jackie Buet is its founder and director. With over 1200 movies submitted each year, the international competition encourages diversity and innovation. It has been the door to success for unknown brilliant female talents as well as the stage to present the latest works of prestigious female directors, many of whom we follow faithfully from their debut films. The deadline is 30 November 2015. Submit your films here. For the website of the Festival click here. Even shared via Institut Francais Afrique du Sud.
La Fabrique des Cinémas du Monde has been created by the Institut français, in partnership with France Médias Monde - France 24, RFI, Monte Carlo Doualyia - and the International Organisation of la Francophonie to support talented new filmmakers from Southern and emerging countries. This professional programme has been developed in close association with the Festival de Cannes and the Marché du Film to invite ten filmmakers who are working on their 1st or 2nd feature-length film. Accompanied by their producers, selected directors will receive personalised support adapted to their project and professional experience, improve their market position, develop their professional network by meeting key players of the industry and live a unique experience in one of the most important festivals. You must register online before November 23rd, 2015. Click here A maximum of 120 projects will be accepted.
MAIN SELECTION CRITERIA
Directors must come from one of the eligible countries (list available on the website)
The project must be the director’s 1st or 2nd feature-length film (fiction, documentary or animation)
The project must have a local producer, or a producer from one of the eligible countries, who has produced a short or feature-length film in the past five years
Each director or production company may only submit one film project
Co-producers may not apply but they must appear in the registration form
The director and/or the producer must speak English
The film’s budget must be less than €3 million.
NEW SUCCESS STORIES Since 2009, La Fabrique des Cinémas du Monde has welcomed over 108 producers and directors coming from 52 countries. Some of these participants have recently been selected in the most prestigious international festivals: Hoang Diep Nguyen (La Fabrique 2012), selected in Venice and in Toronto in 2014, Anita Rocha da Silveira (La Fabrique 2014) selected in Venice in 2015, Michel K. Zongo (La Fabrique 2013) and Midi Z. (La Fabrique 2012) selected in Berlin in 2014. Since 2012, eleven projects have received the World Cinema Support (Aide aux cinémas du monde). Follow the news on La Fabrique des Cinémas du Monde follow our facebook group!
Created by RStyle and supported by the CNC (French National Cinematographic Center), the Urban Films Festival is, in France, the main international films festival dedicated to the city and to all practices and lifestyles that come from it. Over 10 years, this festival created a reference by discovering films related to the city: Stories, dance, movement, communities, street culture, sports, all of the aspects of the city and urban cultures are represented.
This Urban Films Festival proposes also: Screenings of historical or unreleased films about Hip Hop Movement, parties, professional meetings, and a short-movie competition animated by a famous jury - professionals from the cinematographic industry, urban culture activists or journalists. For this occasion, talented film-makers of all ages and from all over the world – from Seoul to Rio passing by Seattle, Paris or Ouagadougou – are invited to submit their films by a web channel (YouTube or Vimeo) by February 28, 2016.
4 Categories of films will be awarded:
Fictions: 15 min max.
Animations: 15 min max.
Performances: 7 min max.
Documentaries: 17 min max.
Best directors from each category will be rewarded by a grant, purchase and distribution of their films or by materials. Submit your movies before February 28, 2016 to: email@example.com
Urucu Media, under the mentorship of Berlinale Talents, in partnership with Nirox, Durban Filmmart, Restless Talent Management, The French Institute of South Africa and Institute Français's Cinémas du Monde proudly presents REALNESS, a screenwriters residency for a new generation of African cinema. From June to August 2016, 5 screenwriters will be invited to attend a seven-week residency to develop a new draft of their original feature screenplays. The aim of REALNESS is to provide the necessary time, space and support to help the continent's best emerging writing talents hone their unique cinematic vision.
Week 1: The residency will kick off on 16 June 2016 with an introductory week at Durban Filmmart, Africa's top co-production market. Residents will have the opportunity to immerse themselves in films, attend seminars and present their projects to industry professionals for feedback. Each resident will prepare a public presentation of their project at the end of the week.
Week 2-6: Residents will be transported to the Nirox artists residency in the Cradle of Humankind, where they will spend six weeks working in a tranquil and nurturing living environment. During the first week, top international script consultants will conduct workshops and one-on-one sessions with the residents. Thereafter, residents will work at their own pace, with ongoing support in the form of workgroups with fellow writers, curated film screenings, producer-led case studies and discussions with visiting industry speakers.
Week 7: In the final week, residents will have a debriefing and follow up Skype-sessions with their consultants. After leaving the residency, writers will be invited to submit a new draft of their screenplay by 30 September 2016. The most promising project to emerge from REALNESS will be invited and funded to participate in the prestigious La Fabrique des Cinémas du Monde in Cannes, 2017.
REALNESS recognizes the real-life demands of most writers and that taking time to develop a screenplay is not always economically viable. To this end, residents will receive a stipend of R15 000 and all food and accommodation expenses will be covered for the duration of their stay. Please note that residents will be responsible for their own travel costs to and from the residency. We will assist in efforts to obtain sponsorship from country culture desks, embassies & other interested institutions.
While the residency will be conducted in English, REALNESS aims to accommodate non-English speaking participants by providing consultation in French and/or Portuguese where necessary.
Please note, the submission window is from 1 November 2015 - 31 January 2016 (or until 120 applications have been received, whichever comes first)
Applicants must submit ONE PDF dossier containing:
a motivation for wanting to participate in REALNESS (1 page)
a synopsis of the proposed feature project (1 page)
a treatment of the proposed feature project (6 pages)
a draft of the screenplay
a writer's note of intention (1 page)
a short biography (1 paragraph)
two links to samples of previously produced work, uploaded to vimeo. If selected, residents will be required to donate one copy of their previous work to the Nirox film library.
The call is open to screenwriters from across the African continent and selection will be based on artistic merit. REALNESS will hold no legal claim over the work once the residency is completed.
All submitted material must be in English. A committee appointed by Urucu and their partners will read the project entries and conduct interviews with a shortlist of candidates early in March. The REALNESS selection will be announced at an event hosted by the pavilion Les Cinemas du Monde in Cannes, 2016.
The Afrique sur Bièvre association, located 3 km south of Paris, aims at the promotion of the cultures of the African continent through its cinematographies, especially by the organisation every year since 2007 of the Ciné Regards Africains Festival. In November 2016, that will be its 10th issue.
For this occasion and within the framework of its objectives, the association has created the prize “Tremplin jeunes réalisateurs – Ciné Regards Africains” in order to boost the careers of young film-makers who have just completed their university studies in African cinema schools. The competition is patronized by Abderrahmane Sissako: it is a great honour both for the competitors and Afrique sur Bièvre.
Competition is open up to 1st December 2015. Rules, regulations and application form are available on www.asurb.com. Results will be announced not later than 31st March 2016. This award is designed to honour a graduation film directed by a student in an African film school, in each of the two categories: documentary and drama. Both prize-winning films will be screened during the “Ciné Regards Africains” festival in November 2016 and both directors will be invited to take part in this event. The purpose is to facilitate exchanges with the public, cinema professionals and students.
In 2015, the M-Net Magic in Motion (MiM) Academy gave a group of top film and TV graduates the opportunity of a lifetime. Twelve students were selected as part of a year-long, paid work-readiness programme, where they engaged closely with some of the country’s leading producers and productions, while gaining an in-depth, wide- ranging experience of the industry. The academy is part of M-Net’s business-aligned CSI initiative which aims to help transform one of the nation’s most influential sectors. On 5 November 2015, at a special industry event in Johannesburg, M-Net’s CEO Yolisa Phahle announced that the video entertainment company is now inviting applications for year two of the project. “In Magic in Motion, M-Net spotlights the philosophy that given an opportunity, an empowered new generation of filmmakers and TV professionals will rise to take their place at the forefront of our sector. I’ve been honoured to witness the passion and pride with which our 2015 interns have converted their vast potential into measurable success; and it fills me with confidence for the future of South African storytelling. Therefore, I am proud to announce that in 2016, M-Net will expand the Magic in Motion Academy to now include 20 interns.” Reiterating that the academy is structured around the film and TV industry’s need to develop the local talent pipeline, build industry capacity and contribute to the economic strength of the country, Phahle noted that collaboration has been a cornerstone of the project. “I must extend M-Net’s sincere thanks to our partner production companies for their immense support of the initiative. It is due to their passion and willingness to take our interns under their wing that we are able to build on the achievements of the first year. Further, we are very grateful for the efforts of leading tertiary institutions and industry-related organisations that have all seen the value of the project and have worked with us to ensure its success.” Speaking before an audience that included key stakeholders, Phahle also welcomed deputy minister in the presidency, Buti Manamela, who gave the event’s keynote address during which he spoke about the role of developmental initiatives in the context of nation-building. In addition, Magic in Motion Academy director Bobby Heaney shared his thoughts on the initiative, stating that the impact of the project would continue to resonate meaningfully for years to come. Also in attendance at the event were current 2015 MiM Academy interns fresh off their creation of two movies for Mzansi Magic (DStv channel 161). Their drama Ilizwi debuts on 12 December, whilst their comedy The Ring premieres on 19 December. In 2016, the academy will again offer its interns training in production commissioning, concept creation, script writing, producing, directing, cinematography, sound, art direction, editing, post-production, studio and location shoots, and more. Interns will also participate in several respected professional film and TV productions across a variety of programming genres. Furthermore, they are expected to have regular specialist sessions with top practitioners in the theatre, film and TV world. Designed to bridge the gap between theoretical knowledge and practical implementation, the academy is focussed on delivering highly-employable professionals into a rapidly growing industry. Entry criteria this year is as follows:
Applicants must be South African citizens who would have completed their qualification in 2014 or 2015.
Applications are open to strictly EE (Employment Equity) qualifying candidates (African, Coloured and Indian).
Applicants must hold a three-year qualification in drama, film, television or a related media field, from a recognised tertiary institution.
Applicants must have graduated, or must be expecting to graduate, with at least an overall B-aggregate.
Applicants must have had no previous permanent employment in the film and TV sector, with the exception of any work experience assignments necessary for the achievement of their qualification.
Would-be applicants must apply directly to M-Net before 11 December 2015 should they wish to participate in the 2016 Magic in Motion Academy. For more information about the academy, its entry requirements and its objectives, visit the M-Net Magic in Motion website.
The Federation of Unions of South Africa (FEDUSA) condemns the utterances and recent media reporting on the so–called new independent and democratic trade union for artists, media and creatives; the South African Media Creative and Cultural Workers Union (SAMCCWU). Claims of being a bona fide trade union have proven to be factually incorrect, following investigations revealing that SAMCCWU is not registered in terms of the Labour Relations Act. FEDUSA’s affiliated union, UASA - "The Union, plays a critical role in this area through the South African Guild of Actors to ensure decent opportunities for actors in the entertainment industry through meaningful dialogue," emphasised Dennis George, FEDUSA General Secretary. "Moreover, the entertainment industry participants act as independent contractors," added George. The National Development Plan (NDP) sets the long-term nation building goals of fostering Constitutional values and the promotion of active citizenry. Hence, FEDUSA believes that social cohesion will further contribute to the ideals of the social compact by strengthening equity, social inclusion and working towards prosperity for all. FEDUSA therefore appeals to the Minister of Arts and Culture, Nathi Mthethwa, to exercise restraint in this matter and engage meaningfully within the parameters of the Labour Relations Act, where social dialogue with registered unions and federations forms the basis of progressive deliberations and industry development. FEDUSA believes that engagements with organisations that misrepresent and mislead information to the general public, could do more harm than good to both the Ministry as well as the entertainment industry, said George. By way of legislation, trade unions have to be registered with the Registrar of Labour Relations and are accountable to their members. Compliance with mandates, procedural matters and audited financials, amongst others, remains the guiding factors for sound operational and sustainable practices, emphasised George. FEDUSA denounces inaccurate and misconstrued conveyance of information via print and electronic media to the general public and demands swift action from Minister Mthethwa, compelling an urgent review and rectification of the matter at hand. "Organisations that lack real structure such as a constitution and a paid up membership base, do untold harm to the entertainment industry when they pretend to speak on behalf of an organisation that, in fact, does not exist," concluded George.
The South African Guild of Actors is proud to be hosting, for the second year running, an international delegation of our peers. The Guild welcomes representatives of the International Federation of Actors FIA, the Canadian Actors Union ACTRA and SAG-AFTRA of the USA, for day-long conferences in Johannesburg and Cape Town. Dominick Luquer is the General Secretary of the International Federation of Actors (FIA). He oversees the representation of the professional interests of its members at international level, voicing the concerns of performers working primarily for the audiovisual industry. Stephen Waddell is the National Executive Director of ACTRA, the national union representing over 22,000 professional performers in the English-language recorded media in Canada. Brad Keenan leads ACTRA Performers’ Rights Society (APRS) and ACTRA Recording Artists’ Collection Society (RACS) the arms of the Alliance of Canadian Cinema, Television and Radio Artists (ACTRA), that collect and disburse remuneration to performers and advocates on behalf of artists. Duncan Crabtree-Ireland is chief operating officer and general counsel of SAG-AFTRA, the world’s largest entertainment and media artists union, representing actors, recording artists, and news and entertainment broadcasters. The proliferation of diverse media platforms and the increasingly global nature of the entertainment industry are causing the ground to shift significantly under the feet of performers in our local film, theatre and television environment. Such a dynamic climate presents both challenges and opportunities for stakeholders; SAGA is committed to the empowerment of actors and other creative entrepreneurs as they navigate the changing landscape. Various sessions are planned, each dedicated to shedding light on a particular facet of the Creative Sector:
Industry experts will help us to explore the backdrop to current entertainment scene: where we come from as performers, where we currently find ourselves and what challenges and opportunities await us on the horizon.
International co-productions are a feature of the global industry with local facilitation increasingly shaping the performer’s environment. We will explore global standards around such issues as working conditions, sexual harassment and the promotion of diversity.
Leaders in the film and television production industry will share their experiences and propose a vision for the future: how we might capitalise on the present opportunities, meeting challenges, mitigating limitations and creating sustainable benefits.
We will explore the dynamics of building capacity for greater cooperation in the industry to achieve mutually beneficial goals. We’ll examine mechanisms for mobilising individuals to cooperate for the greater good, and ways of forging meaningful partnerships between actors, agents, casting directors, producers, distributors and broadcasters.
With our local Intellectual Property legislation under review, we investigate international copyright regimes and best practices. What are South Africa’s obligations under the various conventions and treaties and their impact? What is South Africa’s stance on the Beijing Treaty on copyright in audiovisual performance? What is the status of the Performers’ Protection Act? What moral and economic rights should performers retain as their work is further exploited Agendas for Cape Town and Johannesburg are available on request. Booking is important as seating is limited to 35 people per session. RSVP to firstname.lastname@example.org by Tuesday, 27 October 2015, and indicate the city and session that you would like to attend. Corine Broomberg | SAGA Executive Administrator Cell: 072-401-2718 | E-mail: email@example.com NPC Number: 2012/1073405/108 | NPO Number: 119-128 Website: www.saguildofactors.co.za
Dates: 25th & 26th November 2015 Venue: Amabhubesi Conference Centre, 292 Surrey Avenue, Ferndale, Randburg, 2194, Johannesburg, RSA
Patents, Trade Marks and Copyright continue to be the most valued asset that a company can own. Today companies are faced with constant changes, smarter crimes, and greater competition among brand owners of the world. Trade Mark and copyright practitioners must understand and overcome these challenges.
Amabhubesi invites you to our upcoming Intellectual Property and Commercialization Masterclass to be held this November in Johannesburg. This masterclass will bring out latest thinking on the social and economic value of IP (Intellectual Property). Discussions will focus on how a comprehensive strategy for IP could underpin Africa’s position as a competitive leader in the global economy. The IP Masterclass is focused on intellectual property as an investment, which raises the total value of the brand and plays an integral part.
The objective of this masterclass is to also address various legal aspects of the most recent developments in both jurisprudence and legislation in the field IP law.
Key topics include: • Cross-border copyright protection and designs • Validity and infringement tests • Most recent case law in the field of trade marks and domain names
The IP Trademark & Copyright Protection masterclass will also address these critical topics in intellectual property law, and give the answers you need to protect your brand. This professional development masterclass is also intended for individuals currently working in or aspiring to work in intellectual property intensive fields whether in the public or private spheres. The designed workshops within the masterclass will include lectures offered by IP experts and will involve practical exercises, group discussions and case studies. Attending this event will make IP work for your organization.
Expert facilitators: Theo Doubell, Director, Bouwers Inc. (RSA) Hans JGM Nieuwkamp, BIJ, Buerobotic (Netherlands) Hugh Melamdowitz, Spoor & Fisher (RSA) Gerard Verhoef, Stellenbosch University (RSA)
Who should attend: Directors, GM’s, Heads & Managers, IP Officer, Patent Examiners, Legal Department, Attorney, Trademark Specialist, Intellectual property commissioner, Professor, Research and Development Managers, Legal Advisor: Risk and Compliance, University Lecturers, Executive Advisor, Executive for Strategy Companies, Research and Research Project Managers (e.g. Engineers & Technologists), Director: Innovation Support, Policy Makers, Deputy Director Generals.
Contact: Duncan Ndebele, Project Coordinator 292 Surrey Avenue, Ferndale, Randburg, 2194, Gauteng, South Africa P O Box 2568, Cramerview, 2060, Gauteng, South Africa Tele: +27 (0)11 326 0353 | Fax2email: +27 (0)86 613 7734 Cell: +27 (0)74 783 0524 | Fax: +27 (0)11 326 0354 Email firstname.lastname@example.org | www.amabhubesi.com
Hlaudi Motsoeneng with misconduct ahead of his disciplinary hearing at the end of the month, News24 can exclusively reveal on Friday.
The charge sheet and hearing notice, which Motsoeneng signed on Monday, charged Motsoeneng with a number of acts of misconduct. News24 is in possession of the charge sheet.
The document was compiled by SABC board chairperson Prof Mbulaheni Obert Maguvhe.
He explained in the letter that the board was of the view that disciplinary proceedings should be instituted pursuant to the outcome of court action between the public broadcaster and the Democratic Alliance at the Supreme Court of Appeal.
The SCA recently upheld a Western Cape High Court order by Judge Ashton Schippers that Motsoeneng be suspended for 60 days while a disciplinary hearing into his alleged malfeasance was conducted.
Motsoeneng on Tuesday filed an application in the Constitutional Court for leave to appeal the SCA judgment in respect of the suspension.
His disciplinary hearing is scheduled for October 30.
Maguvhe said the alleged acts were viewed “in a very serious light”.
Should he be found guilty, “the SABC will request that strong action be taken against you, which may include dismissal”.
The charge sheet, which News24 has obtained a copy of, listed the following alleged acts of misconduct: Gross dishonesty (alternatively misrepresentation):
That when Motsoeneng applied for a position as a trainee journalist in March 1995 , he said on an application form that he had passed Standard 10 (matric) at age 23 with the following subjects and symbols: “English E, South Sotho E, Afrikaans E, Bibs E and History F”. It alleged that Motsoeneng misrepresented facts relating to his qualifications in that he did not possess the Standard 10 he alleged to have passed in his application form. It also said he was appointed on the basis that he had passed. Gross dishonesty:
That when applying for the position of Current Affairs executive producer at the SABC in 2003, the broadcaster said he had not been truthful about a position he included on his CV. It charged him with misleading the SABC into believing he was once employed as head of communications at the Northern Cape tourism department. Abuse of position (alternatively gross negligence):
That when he was a part of an SABC selection panel, he abused his position as acting COO by appointing a candidate that never applied for a position, and whom he interviewed despite her not being shortlisted. Gross misconduct:
That he created a new position for an employee without advertising it internally or externally or holding interviews. It was further alleged that he transferred the employee to the new position without approval from the executive committee. Abuse of position:
That while Acting COO, he unfairly dismissed senior staff members of the SABC for differing in opinion to him. Gross misconduct:
That he unilaterally increased his salary and two others, which constituted unauthorised expenditure in terms of the Public Finance Management Act.
The charge document can be found at the bottom of the original News24 article.
Published by Pieter Jacobs. Posted in Arts Funding Pro Helvetia Johannesburg is pleased to announce a new 3 year agreement with the Swiss Agency for Development and Cooperation (SDC). Their cooperation with the SDC extends back to 1999 and has played a powerful reinforcing role to our work in facilitating exchange, collaboration and connection between Switzerland the SADC region. The focus of our SDC-financed programme has for some years been on enabling transnational collaboration and exchange between artists, projects and organisations across the SADC region, with the aim of making a contribution to the development of a regional cultural fabric within SADC. The SDC has always taken culture into account in its work, and has a long tradition of supporting cultural expressions alongside concerns with hard development issues in the areas of, for example, health, education and governance. In the strategy 2013-2016 for Swiss international cooperation, culture and arts are for the first time explicitly mentioned as a means of realising development objectives. To this end, the SDC applies a ‘percent for culture’ principle to its development funding, whereby at least 1% of the overall SDC programme budget is used to support culture “in and of” SDC partner countries. Read more about the SDC here. At the end of 2014, Pro Helvetia Johannesburg renewed its mandate to administer the SDC Southern African Regional Programme’s support for Arts & Culture for a further 3 years (from 2015-17).During this period we will exercise this support in two areas, the first being through micro- grants for short-term projects that involve collaboration between professional artists and arts organisations within the Southern African region (ANT Project funding and ANT Research grant).This funding stream also now enables artists, curators, managers and organisers to access funding to support research and project development trips to other countries in the region. The second area is focused on support to existing projects and organisations that play a strong role in promoting a more networked and connected arts sector in the SADC region, whether through creative collaboration, sharing of skills and knowledge, or the presentation of significant creative voices from across the region. (Platform funding). Geographically, the projects involve Southern African cross-border collaboration. Here Southern Africa includes Angola, Botswana, Democratic Republic of Congo, Lesotho, Madagascar, Malawi, Mauritius, Mozambique, Namibia, Seychelles, South Africa, Swaziland, Tanzania (including Zanzibar), Zambia, and Zimbabwe. Submission deadline is Friday 13th November 2015.