The Objectives of Arts and Cultural Policy Derived from “An Introduction to Arts Management” in Japan

Chungsun Lee;

doi:10.15333/acm.2017.7.30.127

The Objectives of Arts and Cultural Policy Derived from “An Introduction to Arts Management” in Japan

Journal of Arts and Cultural Management ◽

10.15333/acm.2017.7.30.127 ◽

2017 ◽

Vol 10 (1) ◽

pp. 127-135

Author(s):

Chungsun Lee ◽

Keyword(s):

Cultural Policy ◽

Arts Management

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The Socio-Economic Challenges of South African Indigenous Musicians: A Case Study of Venda-Based Vho-Ntshengedzeni Mamphodo

Southern African Journal for Folklore Studies ◽

10.25159/1016-8427/3814 ◽

2019 ◽

Vol 29 (1) ◽

Author(s):

N G Mugovhani ◽

Lebogang Lance Nawa

Keyword(s):

South Africa ◽

South African ◽

Empirical Data ◽

Cultural Policy ◽

Qualitative Case Study ◽

Arts Management ◽

Black South African ◽

Indigenous Music ◽

Entire Country

This article discusses and raises awareness about the socio-economic plight of indigenous musicians in South Africa. Through a qualitative case study of the Venda musician, Vho-Talelani Andries Ntshengedzeni Mamphodo, dubbed the â€œFather of mbila music,â€ the article highlights the fact that the welfare of Black South African artists, particularly indigenous musicians in South Africa, is generally a precarious affair. Their popularity, at the height of their careers, sometimes masks shocking details of exploitation, neglect, and the poverty they are subjected to, which are exposed only after they have died. Empirical data identifies this as a symptom of, among other things, cultural policy and arts management deficiencies in the promotion of indigenous music. The article aims to find ways to redress this unfortunate situation, which is partially a product of general apathy and scant regard that these artists have perennially been subjected to, even by their own governments, as well as some members of their societies. All these factors mentioned are compounded by ignorance on the part of South African artists. Part of the objective of this study was to establish whether the exposition of the Vhavenda musicians is a typical example of all Black South African indigenous musicians and, if this is the case, whether the suggested ways to redress this unfortunate situation could contribute to or play a role in alleviating the plight of such artists in the entire country.

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