Questions and Replies

Reply:

Our museums have outreach programmes which they take to disadvantaged communities and remote areas. In addition, museums such as the Iziko Museums, Robben Island, KZN Museum, Freedom Park and the National Museum in Bloemfontein have mobile buses that take museum content to disadvantaged and rural places far from the museums.

Furthermore, some of our heritage institutions have already started with virtual tours to promote national unity and equitable access to the rich history and heritage of the Republic.

Iziko Museums and Robben Island have developed virtual tours and it is the Department’s plan to integrate museum content with digital experiences through further virtual tours to promote national unity and equitable access. Budgetary constraints are the primary challenge to expanding these initiatives quickly, but I am personally highly committed to the need to bring greater technological advancements into our museum spaces. Our museums must be upgraded to be in keeping with a 21^st century approach to content.

We are in particular looking at incorporating innovations such as immersive experiences, especially for an exhibit on Nelson Mandela and his life.

Reply:

Existing policy frameworks such as the White Paper on ACH and MGE provide mechanisms that can be leveraged to foster collaboration and create expanded opportunities at grassroots levels. These policies emphasise the role of CCIs in economic growth, job creation, and social cohesion, which could be aligned with the synergies between the various sub-sectors.

The White Paper lays the foundation for multi-sectoral collaboration by advocating for institutional partnerships between ACH and sports sectors. While it does not integrate sports into its framework, its principles can be adapted to promote synergies between sports and creative expressions in national and local development initiatives. The MGE provides funding mechanisms to large-scale events such as heritage festivals, national celebrations, and community-based creative initiatives, which often include a blend of artistic and sporting activities. Additionally, MGE promotes public art and infrastructure development, which can be expanded to support multi-purpose community hubs.

To fully realise this motto, DSAC is looking at developing a dedicated strategy that formalises the integration of sports, arts and culture within its existing policy frameworks.

The work that we have done with sports includes a collaboration that will happen with staging the National Arts and Culture Awards and the Sports Awards on the same weekend using the same resources and working collaboratively as part of unifying the Department.

The other unifying element is the DSAC and Department of Basic Education MoU to transform access to sports and cultural programmes in schools, aiming to ensure greater access for school children. The focus is more on equality of access, which emphasises that all schools, especially those in rural, township, and underprivileged areas, have greater access to sports and cultural programmes, facilities, coaching and equipment. 

The second component is Grassroots Development, which aims to develop school sport at the grassroots level, to unlock talent and boost transformation in both sport and the arts. 

Reply:

(a). School sport remains a priority. As a result, in the Mass Participation Conditional Grant, it receives more allocation than any other programme, which is 40% of the total Conditional Grant allocation.

During the 2024/25 financial year, the allocation for school sport was R252 million and in the 2025/26 financial year it will be R250 million. The grant is meant to ensure that the Department implements its commitment in the Memorandum of Agreement (MoA) to promote sport in schools by establishing school sport leagues, providing sport equipment and attire, training teachers, staging the District, Provincial and National School Sport Championships and creating employment for school sport coordinators. The department has been fostering the development of sport and recreation through the Mass Participation Development Conditional Grant.

This Conditional Grant is intended to support the development of School Sport, Active Recreation and Club Development, especially targeting quintile 1-3 schools. A total of 16 490 schools, hubs and clubs have been supported since 2021 as follows:

ii. - 2021/22 = 4732 schools, hubs and clubs were supported

• 2022/23 = 4165 schools, hubs and clubs were supported
• 2023/24 = 4421 schools, hubs and clubs were supported

2024/25 (Current financial year) = 3172 schools, hubs and clubs have been supported to date.

(b). We have developed the regular participation guidelines for all the sporting codes. These guidelines are meant to ensure that the provinces, sport federations and school sport structures work together to develop programmes that will stimulate participation regularly in schools. They include the development of school sport leagues, gymnastics displays, athletics meetings, as well as school swimming galas. In all our programmes, there is the inclusion of all sectors of our community, including all designated groups of people living with a disability, women and young people. We have the highest participation in this programme from such sections of our society.

Reply:

The Downtown Music Hub was initially championed by former Minister of Arts and Culture Pallo Jordan to improve access to recording facilities for local musicians. The Downtown Music Hub houses Downtown Studios. This location has long been regarded as the home of local music production and is the birthplace of many significant musical sounds from the country, having recorded such legendary artists as Mahlathini, the Mahotella Queens, Lucky Dube, Stimela, Ladysmith Black Mambazo, and many others. This history is still well kept, preserved, and displayed within the building, making the hub a valuable part of our cultural heritage.

1. The National Arts Council (ANC), an entity of DSAC, owns the entire asset, which was purchased in 2008.
2. Since then to date, about R93 308 001 had been provided as a grant to support the project and spending has been divided up as follows;

Year	Description	Value
2008/2009	Initial investment in purchasing the asset and funding operations	R7 509 560
2009/2010	Grant for operations	R3 000 000
2010/2011	Grant for operations	R3 000 000
2011/2012	Grant for operations	R3 000 000
2012/2013	Grant for operations	R3 823 441
2013/2014	Grant for infrastructure	R20 000 000
2015/2016	Grant for operations	R5 500 000
2016/2018	Grant for operations	R11 975 000
2019/2020	Grant for operations	R7 500 000
2020/2021	Grant for operations	R6 000 000
2021/2022	Grant for operations	R6 000 000
2022/2023	Grant for operations	R6 000 000
2023/2024	Grant for operations	R6 000 000
2024/2025	Grant for operations	R4 000 000

As the Minister, I am continuing to provide oversight and ask critical questions around the operational funding that is being invested in the work of this facility, to ensure that it is still adding value to the ongoing development of the the music industry.

Reply:

(1). Downtown Music Hub has not been registered as a heritage site. However, it is undeniable that this is an invaluable asset to South African music history. We are weighing our options on what to do with it after the initial plan to donate it to the sector was opposed by National Treasury.

Currently, the Downtown Music Hub has been added to the Johannesburg heritage records, and the next step could be to formally nominate it for heritage status, which is a lengthy process.

(2). The process for registering as a heritage site is outlined in the National Heritage Resources Act, which is the primary legislation governing the protection and conservation of heritage sites in the country. The first step is to ensure that Downtown Studios is officially included in the heritage records, and this has already been done. The next step is to nominate it through the relevant authorities, such as the province and/or the City, and trust that they would understand that this nomination is based on the site's significance in terms of its contribution to history, culture, and heritage, among other things. This step also includes evidence of the site’s cultural, historical, architectural, or social importance, a heritage impact assessment, and public consultations or objections, as per the provisions of the Act. These assessments ensure that any potential impact of the heritage designation on the local community, environment, and economic activities is considered. If the site meets the required criteria, the Ministry will then make the final decision regarding its formal designation as a national heritage site.

It should be noted that heritage status often requires adherence to strict guidelines, which make the process more complex, costly, and lengthy. What we have noted is that maintaining the Downtown Music Hub requires higher maintenance costs, which could prove financially challenging given the limited resources and the fact that the project relies largely on government funding.

As a heritage site, however, the advantages are that it will attract increased cultural tourism, drawing visitors interested in our rich musical heritage. This could create new revenue streams through guided tours, special events, exhibitions, and museum ticket sales, fostering economic benefits for that part of the city.

Reply:

(a). My department will be working closely with the South African Sports Confederation and Olympic Committee (SASCOC) and National Federations (NFs) to identify the sporting codes that South Africa is likely to qualify for and then develop a high- performance support plan to outline specific support for identified athletes. These athletes will be identified by their respective National Federations and the support plan will be agreed upon. Resources for Project 300 (Project 350) will come from various sources to ensure adequate preparation and support for identified athletes.

(b). SASCOC has been working and continues to work on their repositioning strategy for the last few years, which has allowed them to attract corporate partners for the preparation and delivery of Team South Africa, including a long-term athlete development plan.

Reply:

(1). Iziko Museums has a ReImagining Iziko Museums project plan to continue to transform its galleries and museums. The Albany Museum does not fall under the management of the Department of Sport, Arts and Culture, and will be best placed to respond to these questions. The National Museum has an approved Strategic Plan and an Employment Equity Plan. The Employment Equity Plan is in place and is being operationalised. Transformation imperatives underly the Strategic Plan of the National Museum.

The National Museum has operationalised transformation. In terms of the structure, the National Museum’s Council has been transformed by the appointments made by the Department of Sport, Arts and Culture. The demographics of the executives of the museum also reflect this transformation journey. In terms of the collections/exhibitions, the National Museum’s collection efforts address the decolonisation of museums and museum exhibitions. The National Museum’s research projects are subject to ethical clearance to ensure that the efforts subscribe to ethical practices expected in a democratic country. The research agenda in humanities, including the National Museum’s oral history project, focuses on marginalised community histories.

(2). (a) (i) 1266, (ii) of which 225 are ancestral human remains that were unethically collected in (b) South Africa (Northern Cape), Namibia, Botswana, Zimbabwe, Madagascar, and Australia. The National Museum is not a repository for human remains.

(3). Yes, there are individuals from Namibia and Iziko Museum is currently in conversation with the Museums Association of Namibia and the Namibian Ministry regarding these ancestral remains. There are sixty-eight confirmed individuals from Namibia.

(4). No, Iziko does not have the remains of any unethically collected individuals from the Eastern Cape.

(5). In 2024, the Ministry instructed DSAC entities to repatriate ancestral Human Remains. To this effect, the South African Heritage Resources Agency and Iziko Museums are working towards achieving the return of ancestral Human Remains to the Northern Cape before the end of 2025, and to Namibia.

Reply:

(a). No construction has commenced yet on the project as no response has as yetbeen received to the letter submitted to the Department of Public Works & Infrastructure (DPWI) Minister requesting for DSAC to take over the implementation of the project from the DPWI. The consultants have concluded the status quo reports of the terminated contract, and the completion of the Bills of Quantities (BOQ) is at 95%. The BOQ cannot be concluded until it is known which department/organisation will manage and implement the project. The date of completion is not yet known as construction has not yet commenced.

(b). Since no construction has commenced, no expenditure has therefore been incurred as yet.

Reply:

(a & b). According to the host agreement signed between the International Cricket Council (ICC) and Cricket South Africa (CSA), the formation of the Local Organising Committee (LOC) must be done two years prior to the tournament. The tournament is scheduled to take place between October and November 2027.

Therefore, CSA has until September 2025 to finalise the Local Organising Committee and make an announcement regarding the hosting of the 2027 Cricket World Cup. My department is working with CSA to ensure that the due date of September 2025 is adhered to.

Reply:

My department has developed a National Policy on the Digitisation of Arts, Culture and Heritage to provide strategic guidance regarding the digitisation of arts, culture and heritage including, but not limited to, records, archives, books and publications, performance, art, music, heritage sites, heritage objects and intangible heritage. The archives and records management entity has digitised thousands of documents since the policy has been developed.

The Policy specifies that during the dissemination of information, there should be a purchasing scheme for music: There is an effort to develop the purchasing scheme for music aimed at making it media independent. Additionally, there should be testing of new and innovative digital services in the Galleries, Libraries, Archives and Museum (GLAMs) field.

My department often collaborates with other government bodies such as the CSIR, which specialises in digital technology. These collaborations help to ensure that Artificial Intelligence and other cutting-edge technologies can be incorporated into the digitisation process in a way that aligns with best practices in cultural heritage preservation.

Furthermore, digital versions of artistic works can now be bought as Non-Fungible Tokens (NFTs). New opportunities in this regard include:

• NFTs enable ownership of digital art, and the ability to prove authenticity and ownership
• New revenue stream for artists who can sell their digital art and continue to receive a portion of revenue every time the art is traded in the secondary market
• NFTs open up access, both locally and globally; and democratise art
• NFTs enable tracking of authenticity, provenance and ownership
• Fundraising by selling ownership of digital copies of collections, eg, the Nelson Mandela arrest warrant

Digital platforms have provided opportunities for local artists and creators to reach new audiences for a wider and more inclusive outreach that enables artists to relate with each other. Artificial Intelligence offers a medium whereby local artists and creators can gain different perspectives and inspiration to create something new. As an example, Animation South Africa has called for more attention to be given to the Intellectual Property side of animation work, such as story and content development. This should allow for more labour-intensive work, such as editing, rotoscoping or rendering, to be done by software, particularly Artificial Intelligence.

Digital technologies such as Artificial Intelligence, virtual reality and augmented reality provide opportunities to preserve, create, access and experience our cultures from a different perspective. For example, during the COVID-19 lockdown, digital platforms were used to perform and practise living heritage traditions such as dance, music, crafts and cooking.

Reply:

My department has been fostering the development of sport and recreation through opportunities created through the Mass Participation Development Conditional Grant. This conditional grant is intended to support the development of school sport, active recreation and club development, especially by targeting previously disadvantaged areas.

Among the areas of grassroots development that are being prioritised within those programmes are the following: Support for local leagues, support for school sport leagues, the provision of sport and recreation activities in communities, the provision of sporting equipment and attire to schools, hubs and clubs, capacity building programmes for coaches, umpires and referees, the establishment and support of sport structures in rural communities, and the hosting of national school sport championships. In this regard, the department has spent the following amounts:

• 2022/23 = R601 919 000
• 2023/24 = R603 960 000
• 2024/25 (Current financial year) = R631 084 000

Grassroots development spending leading up to the Olympic Games in 2028

• 2025/26 = R659 357 000
• 2026/27 = R689 000 000

Reply:

(a). I would not be able to indicate the reasons why athletes with special needs like Mr Bidi beg for funds to participate in national events such as the Comrades Marathon. The observation is that there is a general shortage of funds which affects athletes across various walks of life including athletes with special needs. As you may be aware sport, arts and culture is the least funded sector of the Government budget. To exacerbate the situation corporate South Africa, invest in sport and athletes that offer them immediate returns and mileage, leaving up and coming athletes without any form of support.

(b). The interests of persons with special needs are protected, this in terms of South African Constitution, laws, and policies. The Department treats all sports persons fairly and equitably as far as it is possible.

(c)(i). My department works with and provides financial support to organizations that cater for athletes with special needs / athletes with disabilities. These include the South African Sport Association for the Physically Disabled (SASAPD), South African Sport Association for the Intellectually Impaired (SASAII) and South African Deaf Sports Federation (SADSF).

Within the creative sector, my department supported creatives through MGE funding and one of the programmes supported through the fund is We Can Arts Festival. This is a multidisciplinary festival which creates a platform with tangible outcomes to achieve government objective on ensuring socio-economic inclusion of persons with disabilities in all activities and services rendered by government. It brings down the barriers to access to social and economic opportunities by persons with disabilities. The project recognizes and honour people with disabilities nationally.

The department is funding the development of South African Sign Language (SASL) Signs Dictionary (sign video) and a Digital Sign Language Interpreter System that will assist hearing and non-hearing persons to understand each other. The Digital Sign Language Interpreter System will allow non-hearing persons to participate in discussion, debates and meetings without the assistance of human interpreter.

Reply:

1, The Silapha Wellness Intervention Programme is a support initiative aimed at assisting artists and athletes across different stages of their careers, from grassroots levels to emerging, professional, and elite tiers. The programme operates on a self-enrolment basis, with eligibility criteria in place to ensure that participants are verified artists or athletes.

The service provider contacted Doc Sheela’s CCP record and Amaha Organisation and reached out to Winnie Khumalo’s label WinnKay Records during these difficult times to offer the family Grief and Loss psycho-social support, and both spokespersons for the label took details and asked for family privacy, advising that they will share the details with families after the funerals.

Artists and athletes are encouraged to register and seek support through the official Silapha channels, where they can access resources such as:

• Wellness counselling (including mental health, financial well-being, grief support, and performance anxiety).
• Educational resources and assessments to help them identify their specific support needs on the wellness engagement platform.
• 24/7 professional counselling services via a confidential call centre.

The department remains committed to supporting all artists and athletes who engage with the programme and encourages those in need to reach out for assistance through the official Silapha platform.

1. The Silapha Wellness Intervention Programme functions within the budget allocated by the Department of Sport, Arts and Culture, ensuring financial sustainability while maximising its impact. All financial allocations are within the approved departmental budget, and there have been no budget overruns. The service provider was awarded a tender of R18,297,360 for three years. The department pays a sum of R507,120.01 to the service provider each month for the Silapha deliverable as outlined in the SLA and project plan.

The salary breakdown is as follows:

Project Management: R25 550.00

Silapha Ambassadors: R17 500.00

Clinical Team Salaries: R33 640.00

Total: R76 690.00

1. (a) Number of Members Assisted: Since its launch, the Silapha Wellness Intervention Programme has engaged and impacted 1,181 artists and creative professionals, surpassing the department’s initial target of 800 within three years.

(b) Type of Assistance Provided: Participants in the Silapha programme receive comprehensive wellness support, which includes:

• Access to wellbeing content and educational resources tailored to their needs.

• Mental health and emotional support services, including grief counselling, stress management, and performance anxiety assistance.

• Financial wellbeing education, helping artists and athletes manage their earnings and plan for long-term financial security.

• 24-hour confidential counselling services, ensuring they have round-the-clock access to qualified professionals for immediate support.

• Assessments and surveys to help individuals identify areas where they may need additional support.

The Silapha platform is a multimodal programme, allowing beneficiaries to engage through community support, online resources, and direct counselling services, ensuring holistic and sustainable well-being interventions.

The department remains committed to expanding the reach of the programme and encourages all eligible artists and athletes to engage with Silapha for the support they need.

The Silapha Wellness Intervention Programme is an accessible and structured support initiative designed to empower artists and athletes with the necessary tools for mental, emotional, and financial wellbeing. It has exceeded its initial impact targets and continues to operate within the department’s allocated budget.

For any individual seeking support, including those mentioned in this parliamentary question, the department reaffirms that Silapha remains open and available for engagement through its official platforms.

 

 

 

 

Reply:

(1). Relevant historical artefacts, structures and monuments are part of the national estate and are protected under the National Heritage Resources Act, 1999 (Act No 25 of 1999) (hereafter NHRA). This is the legislation that establishes the South African Heritage Resources Agency (SAHRA), an Agency of the Department that is responsible for the identification, conservation, protection and promotion of South African heritage resources.

From the provisions of Section 39 of the NHRA, SAHRA has maintained a database of identified heritage resources in the Republic through an online system namely the South African Heritage Resources Information System (SAHRIS). Through SAHRIS, we are able to know the scope and breadth of our cultural heritage, from resources of national significance (National Heritage Sites) to resources of provincial and local significance. From knowing what we have, and where the heritage resources are located, SAHRA, with other role players in heritage resources management, are best placed to act accordingly towards ensuring the effective conservation of resources.

On an annual basis, SAHRA publishes a report on the state of the cultural heritage national estate. This report presents the balance of heritage resources captured on the SAHRIS platform and includes itemised lists of declarations made at national and provincial levels. For instance, the sum of National Heritage Sites in the Inventory at the end of the 2022/2023 reporting period was 132, where twio sites were added in 2022 and a further 11 sites were added in 2023. Provincial Heritage Sites were added by Heritage Western Cape (2 in 2022, 1 in 2023), and Heritage Free State (2 in 2023).

In 2021 the Department, through SAHRA, successfully completed an audit of monuments, memorials and statues throughout the country. An estimate of 1153 heritage resources, as indicated in the map below, were identified.

While the number of heritage resources may be known and diverse, the lack of, or limited capacity of, the provincial heritage resources authorities (PHRAs), and capacity at local level since the proclamation of NHRA has limited the effectiveness of managing heritage resources at grassroots level. As a result, most of the resources, especially gravesites of national significance, are often vandalised and/or left to ruin.

The NHRA has provided for a 3-tier system of managing heritage resources. Within the broad spectrum of our heritage landscape, there are resources that are best managed at a national level, at provincial level or at local/municipality level. If this system were functioning as it should, there would be policies and frameworks tailor-made to resources at each of these 3 levels of governance. This would effectively mitigate against loss of cultural heritage resources. Be that as it may, SAHRA has made strides in persuading provincial heritage authorities to be assessed for their ability to perform their functions in terms of Section8(6)(b) of the NHRA, such that the status is that of the 9 provinces 3 (Eastern Cape, KwaZulu-Natal, and Western Cape) are fully competent to perform their legislated functions; 2 (Free State and Limpopo) have partial competency; 1 (Northern Cape) is not yet competent; while 3 (Gauteng; North West and Mpumalanga) are yet to submit their applications for assessment.

 

(2). This progress has been made as a result of implementing SAHRA’s 5-year plan towards improving heritage resources management coordination in the Country. The intention of this Plan is to bring together various stakeholders to work coherently and in unison towards conservation of the heritage national estate.

In order to facilitate effective and formal protection of resources, SAHRA has during the current reporting perioddeveloped a Thematic Framework for identification, grading and declaration of heritage resources. This systematic approach could ensure that communities participate actively in nominating and conserving heritage assets that they themselves select to protect and consequently reduce vandalism and loss. This framework will be rolled out in the 2025/2026 financial year.

For purposes of ensuring compliance with the NHRA, SAHRA has developed national permitting policies for regulating activities that may take place within protected sites and heritage objects.

Additionally, SAHRA has published Regulations regarding the protection of different types of heritage objects.

.

Reply:

In most instances, the delay in the payment of the heritage bursaries is due to the delay in the sending of documents by universities. Once this is done, there may be a delay in the signing of the memoranda of agreement between the universities and the Department.

The Department at first sends numerous reminders to universities to submit the documents. If the universities do not comply, the Department sends letters to the Vice Chancellors of the universities to request their intervention. Departmental officials also travel to the universities to personally collect documents if necessary.

With regard to the signing of the memoranda of agreement, it has been agreed by the Legal Services Section of the DSAC that the documents can be signed electronically. This process is faster than the couriering of documents.

I can add that the Ministry is reviewing the funding of these bursaries, given that they often seem not to translate into sustainable employment for the recipients.

Reply:

The process to appoint the Chief Executive Officer was put on hold by my predecessor, due to the amalgamation project. The recruitment had to be re-started after the project was cancelled. In an event that the expenditure is classified as fruitless and wasteful expenditure, Treasury Regulations will be followed on how the finding will be dealt with.

 

Reply:

1. (a). Total staff compliment is 190 staff members
2. (b) (i) Permanent staff members are 153

(ii) Temporary staff members are 37

2. The minutes referred to are attached as an annexure to this response.

 

Reply:

(1). Ms Rooksana Omar was not appointed on the basis that she was a retiree. Her contract at Iziko Museum lapsed and her appointment at Amazwi Museum was based purely on merit and without any favouritism. As previously indicated, there were seven (7) applicants who applied, and the panel found only two (2) of those applicants eligible for shortlisting and subsequent interviewing. The other candidates were found not to meet the basic criteria and were therefore not suitable for the position. Through an interview with a panel of 4 members, Ms Omar was found to be the most experienced, skilled, capable and appointable candidate for the role.

(2). The minutes are attached for your attention.

(3). The Director of Amazwi South African Museum of Literature’s total cost to company is R1 400 000.

 

Reply:

1.(a). The comprehensive list comprised 35 suggested names of literary practitioners.

(i). 15 were recommended from the comprehensive list.

(ii). None was removed but 15 were selected from the comprehensive list, which was put together to ensure the widespread inclusion of literary practitioners as much as possible.

(b). The selection was based on the set criteria which looked at provincial and racial criteria, the inclusion of authors living with disabilities and gender representativity, as well as potential to represent the country at an international level. The available budget could only cover 15 authors.

(c). Yes, there were set criteria, as outlined above.

2. All are South African authors and met the criteria.

3. Delegates were subjected to the set criteria and qualified. Background checks on their relationships were not part of the criteria, but none are in any case related to myself as the Minister.

Reply:

1. See the below table for the budget spent for each writer on the trip to Havana Book Fair 2025

PARTICIPANT	TRAVEL COSTS	TOTAL
1. Ms Nokubongwa Lukhele Mbombela	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee: OR Tambo Int. to Havana Int. Airport	R133 890.00
2. Mr Eugene Damons Uitenhage	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee: PE Airport to Havana Int. Airport return flights	R141 100, 49
3. Ms Nombeko Nontshokweni King Williamstown	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee: EL Airport to Havana Int. Airport return flights	R140 650.00
4. Dr John Lourens Maralack Cape Town	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee: Cape Town Int. Airport to Havana Int. Airport return flights	R141 770.55
5. Ms Mosima Mokotong Strathavon	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee: OR Tambo Int. to Havana Int. Airport return flights	R138 445.74
6. Mr Zonwabele Tshayana	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee: OR Tambo Int. to Havana Int. Airport return flights	R138 565.74
7. Ms. Annerle Barnard Bloemfontein	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee: Bloemfontein Airport to Havana Int. Airport return flights	R139 640.00
8. Ms. Lungile Mtetwa Tongaat	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee: King Shaka Int. Airport to Havana Int. Airport return flights	R141 050.49
9. Dr Carl Hendricks	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee: OR Tambo Int. to Havana Int. Airport return flights	R116 119.74
10. Mr. Sven Axelrad Durban	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee: King Shaka Int. Airport to Havana Int. Airport and return flight to Cape Town Int. Airport	R120 335.75
11. Mr. Tuelo Gabonewe Centurion	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee: OR Tambo Int. to Havana Int. Airport return flights	R89 890.00
12. Mr Boitumelo  Mainganya Pretoria	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee OR Tambo Int. to Havana Int. Airport return flights	R161 890.00
13. Ms. Farren Cloete Cape Town	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee OR Tambo Int. to Havana Int. Airport return flights	R128 370,55
14. Mr. Molaodi Sekake Johannesburg	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee: OR Tambo Int. to Havana Int. Airport return flights	R133 730.00
15. Ms. Unathi Nkayi Msengana Johannesburg	Shuttle & return flights, Insurance, Visa, Accommodation, meals, Participation Fee: OR Tambo Int. to Havana Int. Airport return flights	R138 565,74

2.(a) Yes, four officials in total attended, namely: (i) Deputy Minister and (ii) one official from her office, (iii) One official from the International Relations Directorate and (iv) one from the Books and Publishing Directorate.

(b). The Deputy Minister led the delegation and represented the country as a political head. As South Africa was participating as the Guest of Honour, a Books and Publishing official was to take care of the content for SA participation, seminars, author participation and all necessities for the SA stand, the International Relations unit (IR) official was responsible for connecting SA with the Cuba hosting committee and Embassy, arrange necessary meetings for the political head, obtain info and provide it to the whole delegation for travel and other matters that had to be taken into consideration regarding IR matters.

Reply:

While I agree that it would have been highly desirable to end up with a perfect split among men and women, unfortunately due to time limits, we had to accept the participation of those who were available at the time to attend the fair.​

 

Reply:

1. The PFMA, Act 1 of 199 is applicable to all funded entities, hence the significance of contractual agreements between DSAC and funded entities, including CCIFSA. Funded entities are subjected to DSAC’s internal control processes and are scrutinised by the Auditor General South Africa (AGSA). I am advised that, according to our reporting records, there are no adverse findings regarding CCIFSA funding.
2. The Culture Promotion Act (CPA), which mandates the Ministry to establish, launch, or finance any organisation or project likely to have a national impact, provides the legal framework within which the Department is empowered to support cultural initiatives and organisations, including those such as the Creative and Cultural Industries Federation of South Africa (CCIFSA). This power of support is not curtailed by CCIFSA’s autonomy, as it falls within the mandate of the Department to facilitate and assist in the development of cultural and creative industries. I am advised that the Ministry was at that stage within its legal mandate to provide the support needed by CCIFSA.

Reply:

. 1. My department did not support the Durban Music Festival of 2024.

(a) I am not aware of the organisers and Rick Ross misrepresenting the Department.

(b) My department will attend to the matter if it receives full details of such allegations. I am, however, happy to admit that I am personally a fan of Rick Ross and would welcome his return to perform in South Africa again.

(i) The department supports festivals through an application process. If the proposal is approved, the department would then associate with such a project through a signed Memorandum of Agreement (MOA) with the beneficiary.

(ii) The department creates an enabling environment for local artists. Where organisers invite international artists, it is the prerogative of such organisers to do so. It should also be highlighted that South African artists receive international invitations to perform in various countries.

Reply:

1(a). The Grave of Chief Njongumsobomvu Maqoma located at Intaba kaNdoda in Dimbaza has been declared a National Heritage Site by the South African Heritage Resources Agency (SAHRA), an agency of the Department of Sport, Arts and Culture. Through the SAHRA intervention, a fence was erected to prevent cattle from damaging the site. The site is managed by the Amahlathi Local Municipality.

(b). There are no plans in place to revamp the memorial site of Intaba kaNdoda.

(2). In implementing the Resistance, Liberation and Heritage Route Programme, Cabinet in 2021 included the Ministry of Transport in the Inter-Ministerial Committee responsible for the development of heritage sites that reflect the resistance and liberation struggle. The Ministry was included to lead and provide access to our landmarks for the purposes of heritage education and local tourism.

(3)(a). In 2023, the Department of Sport, Arts and Culture signed a Memorandum of Understanding with the Department of Tourism.

(b). The Department of Sport, Arts and Culture has an overarching Memorandum of Agreement with the Department of Public Works and Infrastructure (DPWI). Through this Agreement, DPWI is obligated to maintain all government immovable properties, including heritage sites. The DPWI also forms part of the IMC that was established by Cabinet to oversee the implementation of the Resistance and Liberation Heritage Route Programme.

(c). The Department of Sport, Arts and Culture has signed a Memorandum of Agreement with the Department of Basic Education (DBE). This MoU aims to improve access to sports and cultural activities in schools as well as encouraging the inclusion of history as a compulsory subject in the school curriculum.

(d). The Department of Sport, Arts and Culture does not have a separate agreement with the Department of Higher Education and Training. However, Memoranda of Agreement are signed each year with Institutions of Higher Learning for the bursary programme, which aims to increase the pool of heritage practitioners in the country.

More than 50 bursary opportunities are provided each year to deserving students across all universities in the country.

 

Reply:

The Department conducts due diligence on all funded entities, including the Cultural and Creative Industries Federation of South Africa (CCIFSA) in each financial year. It is critical to state that the Annual General Meetings (AGMs) were not part of any contractual agreement between DSAC and the Cultural and Creative Industries Federation of South Africa (CCIFSA).

Whatever my personal views on this matter may be, the fact remains that CCIFSA submitted reporting documents and annual financial statements as part of their signed Memorandum of Agreement (MoA) over a period of three consecutive years. I am advised that the Department received compliance reports from CCIFSA, which were accepted.

I am advised that this was in line with the MoA that was concluded as required under the Public Finance Management Act. These reports served as the basis for continued funding, as CCIFSA fulfilled their reporting obligations to the Department, according to the officials in my Department.

 

 

 

Reply:

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Reply:

1. The Department’s decision to look at the feasibility of undertaking to host the Formula One (F1) is informed by several strategic considerations. Firstly, the prestigious event was last hosted in Africa more than 30 years ago, notwithstanding its popularity in the continent and South Africa. Secondly, motorsport is still viewed as the preserve of the elite, and thirdly, it is not accessible to the majority of South Africans. The Department intends to utilize the hosting of Formula One (F1) to serve as a catalyst for addressing and changing the above.

(a)&(b). As part of planning to host the Formula One, the Department is working with Motorsport South Africa to develop and implement a Legacy Programme that would, among other things, focus on the promotion and development of Motorsport in the country through training and skills development as well as other related or relevant activities.

c). The aim is to ensure that at least a five-year hosting agreement is concluded for the hosting of the Formula One, hopefully even longer. This would enable the country to exploit and unlock the potential socioeconomic benefits. An event like the Formula One stimulates several economic sectors beyond sport. These include the tourism and hospitality sector, logistics services, the construction sector, eventing, arts, culture and entertainment.

 

Reply:

1. The plan was a proposal which was submitted to the National Treasury; however, this proposal was not funded, as the NT declined the request to fund the entire process of the removal of colonial statues and symbols.
2. The Department does not have a comprehensive list of service providers and stakeholders whose services will be utilised to execute the project as the are no funds towards implementing this plan.

Reply:

1(a). Please find herewith attached a full list of sites that have been declared as National Heritage sites: (i) & (ii) See attached list. National Heritage Sites.xlsx

(b). Public monuments and memorials are not the responsibility of the department or the South African Heritage Resources Agency (SAHRA) except where either was solely responsible for their construction and where a handover agreement is not in place. As per section 37 of the National Heritage Resources Act, (NHRA), all public monuments are protected in the same manner as if gazetted under section 30 of the Act, therefore meaning that the responsibility for protection falls on municipalities and provinces.

(2). Same response as 1(b) above applies.

(3). Section 34 of the National Heritage Resources Act (NHRA) states that 'No person may alter or demolish any structure or part of a structure which is older than 60 years without a permit issued by the relevant provincial heritage resources authority'. Any person who contravenes the provisions of the National Heritage Resources Act will be penalised in accordance with section 51 of the SAHRA Act.

(4). No, a detailed report about the maintenance of the Vredefort Dome and the Cradle of Humankind World Heritage sites will not be included. A detailed report on the two would have to be sourced from the Department of Forestry Fisheries and Environment, which is the focal point for the implementation of the World Heritage Convention in the country.

Reply:

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Reply:

(a) (i). Noting that Car Spinning is undergoing the process of being formalised, the Department has not had records of the events for the past four years. As indicated in the response to Question 1880, Car Spinning is a sub-discipline of motorsport. Given the fact that the Spinning fraternity has been highly fragmented – which made it difficult to coordinate a unified set of sporting and safety regulations that was supported by all parties – Motorsport South Africa (MSA) is engaging the various role-players to ensure the development of uniform rules. This follows a Spinning Indaba in 2018, which was convened by Motorsport SA with interested Spinning stakeholders.

It also follows that there is no (ii) data in terms of participant demographics (iii) recorded accidents (iv) or injuries and fatalities in the past five years.

(b). As such, there is no viable comparison to make with other recognised motor sports in terms of safety and public interest.

Reply:

As the Minister of Sport, Arts and Culture, I have not changed my position on this issue. I have commissioned a forensic investigation, which is under way. It will be premature for me to pronounce on any further details on this matter until the completion of the investigation.

Reply:

I am not aware of the inaccurate information regarding the details of the service provider in the videos project of the Association of Independent Record Companies and therefore cannot comment further on the matter. As you are aware, this project was implemented about 10 years ago, and the Department has taken proactive steps to communicate with the said organisation to ensure its accuracy with the information provided.

Reply:

In this particular instance, as the Minister I served solely as the patron of the Awards in accordance with the agreement between the Department and the initiator of the awards, the Cultural and Creative Industries Federation of South Africa (CCIFSA). This patronage did not, in any way, confer ownership or control of the awards, their intellectual property, or any associated assets to the Department. The awards have remained the sole property of the initiator. This patronage was consistent with the Executive Authority’s role as the head of the Department mandated to support and advance the creative and cultural industries in the country, symbolic of the commitment to recognising and celebrating excellence in the creative sector. Given this context, any suggestion that the USIBA Awards were the awards of any Minister are factually and legally incorrect.

Reply:

The South African Cultural Observatory (SACO) has played a role in providing findings to be translated into practical policy adjustments and funding strategies within the arts and culture and heritage sector. By identifying gaps in funding, assessing the economic impact of the Cultural and Creative Industries (CCIs), and providing data-driven insights, SACO contributes to the strategic decisions of the Department of Sport, Arts and Culture (DSAC) by allowing them to be more informed, effective and aligned with broader economic and social objectives.

Policy development

SACO’s research has influenced policy development by demonstrating the economic and social value of CCIs. Economic assessments quantify employment trends, GDP contributions and job creation within the sector. Studies have highlighted the role of CCIs in urban and rural regeneration, supporting policies that leverage these industries for economic growth.

Research on international trade, particularly with BRICS nations, have informed strategies that enhance the export of cultural goods and services. Additionally, regulatory insights derived from policy reports have helped address challenges in funding allocation and the integration of CCIs into national economic strategies.

Funding decisions and financial support mechanisms

SACO’s research influences funding decisions by identifying key investment opportunities and financial challenges. The South African Festival Economic Impact Calculator (SAFEIC) has provided stakeholders with data on the economic contributions of cultural festivals. The funding reports analyse how financial support is distributed across artistic disciplines and geographical locations, leading to more equitable grant allocations. A review of the existing funding model has examined its effectiveness and recommended improvements to ensure sustainability and efficiency in supporting the arts, culture and heritage sectors.

Addressing sector challenges

SACO’s research has informed policy interventions that have addressed structural challenges within CCIs. Employment stability was identified as a critical issue, and research on so-called precarious work supported discussions on social protection policies and labour rights. Studies on vulnerable highlighted barriers faced by youth in the CCIs have led to policy recommendations that fostered greater representation and access. The impact of the COVID-19 pandemic on the arts sector was also studied, and findings directly influenced the application of the Presidential Employment Stimulus Programme (PESP), which provided financial relief for artists and cultural practitioners.

Heritage and cultural repatriation

Heritage research played an essential role in shaping policies related to national identity and economic growth. Studies on the repatriation of cultural artifacts supported initiatives aimed at reclaiming South Africa’s heritage assets. Additionally, research findings contributed to increased government investments in, inter alia, museums and historical sites, ensuring the preservation and promotion of South Africa’s cultural heritage.

Technology and innovation in the creative sector

Has SACO analysed the role of Artificial Intelligence (AI) in the creative industries to determine whether it represents a threat or an opportunity. Research findings have informed policy discussions on how AI could support rather than displace creative professionals. The study titled AI: A Rushed Revolution or a Holy Grail of the CCIs? explored how AI has reshaped artistic production, distribution and consumption, ensuring that technological advancements have benefited the creative sector.

Knowledge dissemination and capacity building

SACO actively disseminated its research findings to support decision-making within the sector. International conferences served as platforms for dialogue on cultural policy, economic impact and emerging trends in the creative industries.

Workshops and training sessions conducted across the country have equipped stakeholders with economic impact assessment tools such as SAFEIC and have provided research skills in cultural economics. These initiatives have ensured that research findings were effectively translated into actionable insights for policymakers, artists and funders.

SACO’s research has played a role in shaping policies, guiding funding decisions, and strengthening the arts, culture and heritage sector. Moving forward, SACO will continue to assist in policy innovation and sector development through strategic research and knowledge dissemination.

Reply:

There is no sporting code from the previous administration that the Department has thus far increased investment in since the beginning of the 7th Administration. Financial support to sporting codes is to be be reviewed from 2025 /2026 going forward, meaning the rest of the questions fall off.

Reply:

According to Schedule 58 of the Constitution of Republic of South Africa (Act 108 of 1996), provision of sport and recreation infrastructure is a mandate of local government. For this reason, funding for this mandate is in the form of a Municipal Infrastructure Grant (MIG) for local municipalities and Urban Settlement Development Grant (USDG) for metropolitan municipalities. Both of these grants are transferred to municipalities by transferring departments, being Cooperative Governance and Traditional Affairs (CoGTA) for MIG and Department of Human Settlements (OHS) for USDG.

Over the years, municipalities have not been providing or maintaining sport facilities in their jurisdictions, resulting in a detrimental effect to development, promotion and transformation of sport in the country. It was for this reason that in 2016/17 DSAC (then Sport and

Recreation) engaged with both CoGTA and National Treasury (NT) to ring-fence a portion of the 5% earmarked for sport infrastructure in the MIG, and for that ring-fenced portion to be allocated by DSAC and still transferred to municipalities by CoGTA.

In line with the allocation list submitted by DSAC, these projects are then technically supported by DSAC from planning until they are completed.

Since then, there has been an increase in the supply of sport facilities in communities due to this ring-fencing arrangement, which serves to protect funding intended for sport infrastructure against repurposing to other uses by municipalities.

This approach is yet to be replicated at the metropolitan level, however, which is what applies in the City of Johannesburg.

In the case of the USDG for metropolitan municipalities (including the City of Johannesburg), the ring-fencing arrangement has not been reached and the current USDG arrangements allows metropolitan municipalities to prioritise funding allocations according to their own needs. The current arrangement of the USDG limits the involvement of DSAC and makes it difficult for DSAC to force metropolitan municipalities to allocate a certain portion of the budget for sport infrastructure.

In the immediate, the Department of Sport, Arts and Culture will engage with the City of Johannesburg Metropolitan Municipality to urge them to prioritise provision of sport infrastructure within their USDG grant; the municipality will also be advised to strategically place such infrastructure in such a way that it can be used by schools as well as by communities at different times.

In the long term, DSAC will continue to engage the National Treasury, and the Department of Human Settlements to ring-fence a portion of the USDG for provision of Sport and Recreation infrastructure.

Reply:

(a)

The Ministry considered the below factors in selecting twenty-five living legends, as part of phase one of this initiative, who were honoured through an honorarium with a total value of R100 000.00 to each living legend.

• • The Living Legend must have produced a world-class performance/craft on a National, Continental, and Global arena.
  • The Living Legend must have continuously set world records.
  • The Living Legend must have excelled in his or her respective arts and culture domain or discipline and has an ongoing impact on the body of work influencing the arts and culture sector.
  • The living legend must be a South African citizen.
  • The Living Legend must have made an extraordinary contribution to the arts, heritage, and culture industry over the course of his/her career.
  • The Living Legend must have an influence on existing and upcoming practitioners within the creative sector.
  • The Living Legend may have received an award in the current year at a national or international award ceremony.

The Living Legends Legacy Fraternity Trust (LLLFT) was established as a legacy project in 2015 by then Minister Nathi Mthethwa with the main aim to identify, capture, preserve, protect and promote the body of work of the Living Legends, their wisdom and knowledge systems in a programmatic way.

The term of the LLLFT Board of Trustees came to full term at the end of July 2024 during the leadership transition period to the 7th administration of the Department of Sport, Arts and Culture. This coincided with a department-wide review of programmes under the new Ministry, which also included the LLLFT.

As such, an internal process has commenced led by the Ministry on the new vision for

the Living Legends’ support by the Department.

This includes a review of the current trust deed that governs the LLLFT Board of Trustees, to see if indeed it responds to the immediate plight of Living Legends and the model’s sustainability in ensuring support to Living Legends over and above only recognition.

A review of the living legends criteria is also under way.

As funds remained available in the living legends programme and had not been made available to the legends through the structure the new Ministry became aware of, the decision was taken to pay the honoraria to the legends following a Ministerial Living Legends Breakfast Meeting on the 28th of November 2024.

The Living Legends Legacy Fraternity Project pertains to national living treasures who have significantly contributed to where we are today. Most have left an indelible mark nationally and internationally and have flown the South African flag high through the body of work they have produced. The Project is nation-wide consisting of artists, creatives, cultural and heritage practitioners from various categories as per the UNESCO cultural domains classification of Cultural and Natural Heritage, Performance and Celebration, Visual Arts and Crafts, Books and Press, Audiovisual and Interactive Media, Design and Creative.

The initiative is to engage the Living Legends actively in programmes that promote the arts, culture and heritage development as well as to provide opportunities for interaction and imparting skills, knowledge and experience to younger generations of artists, and cultural and heritage practitioners through mentorship. This programme was also intended to document and archive their body of work so that the legacy of their work is preserved for generations to come.

The Ministerial breakfast and honoraria paid were to honour the legends who have built the foundation of the increasingly important creative economy, to ensure their consultation in determining their own needs and to maintain their continued influence on the cultural and creative landscape.

(b) The amount was sourced from the Department’s Cultural Development: MGE Goods and Services (Living Legends) budget.

(c) No legends were excluded. The idea was to start with 25, but more legends will be included in future.

Reply:

Among other initiatives that are supported by the Department, the Mzansi Golden Economy (MGE) aims to make strategic investments to optimise the economic benefit of the arts, culture and heritage sector in South Africa. By improving investment in key areas of the creative economy, it is anticipated that job creation and productivity will be enhanced, and the sectors' global competitiveness will be increased.

MGE invests in these key areas through grant funding to organisations that include Non-profit, Private and Public Companies and not independent artists. The funding through numerous workstreams within various disciplines/genres of Arts, Culture and Heritage; books and publishing (literature), performing arts (theatre, dance, poetry, comedy, etc.), music, technical services, audio-visual/film, design (fashion, bursaries, product design, jewellery, etc.), visual arts, craft, heritage-related projects, language- related projects, new media and digital platforms, animation projects, sector organisations and market access platforms.

In the 2024/25 financial year it is projected that 170 organisations will be supported to an estimated amount of R225 977 000 (84 Public and Private enterprises, 67 Non Profit Institutions and 19 Departmental agencies.

THE DEMOGRAPHIC SPREAD OF THE MGE PROJECTED GRANT TRANSFERS

PROVINCES	GP	WC	MP	NW	KZN	LP	FS	NC	EC	Nationwide
	55	18	11	11	19	12	10	15	17	2

TOTAL: 170

Reply:

(a). The Department allocated an amount of R10 million for the 2024/2025 financial year. This budget is for the repatriation, restitution and reburial of ancestral human remains currently in museums and tertiary institutions within South Africa and outside the borders of the Republic, as well as the remains of South African combatants whose mortal remains are buried outside the Republic.

 

R10 million is allocated for 2025/2026 for the Iziko Museums of South Africa, which will utilise a portion of its allocation for the restitution of illegally donated human remains currently in its care.

This budget cannot be calculated at this time, as the budget for each project is based on the number of community consultations required to agree on the place or area for reburial, on the spiritual or religious cultural processes that will be followed for the reburial, as well as the logistical arrangements, such as how many human remains will need to be transported from the institutions to the place of reburial, the cost of the burial that includes the costs for the undertaker, and any other goods that need to be procured, with the practising of cultural rites.

Consequently, the costs for each project, whether funded by the Repatriation and Restitution Office (RRO) or the Iziko Museums of South Africa, will be different each time and will need to be calculated on a project-by-project basis.

(b). The overall expenditure for the repatriation of human remains since the establishment of the Repatriation and Restitution Office for 2024/2025 is R7 995 068.

Reply:

The Department of Sport Arts and Culture adopted the National Policy on Repatriation and Restitution of Human Remains and Heritage Objects that was subsequently endorsed by Cabinet in March 2023. A Ministerial Advisory Committee was formed to investigate the formulation of guidelines for each aspect of the policy, thus prioritising a collective repatriation of mortal remains of former South African exiles, as opposed to individual ad hoc repatriations that have previously taken place. The phased implementation plan follows a country-to-country approach, initially focusing on SADC countries with a high concentration of graves, particularly Angola, Tanzania and Zambia.

The recent repatriations that included Zimbabwe were partly responding to the Presidential pronouncement in his State of the Nation Address in 2020, where he included the name of Basil February, killed in combat in August 1967. His remains were successfully recovered.

The recent repatriations that culminated in the Homecoming Ceremony on the 27th of September 2024 included the mortal remains of one of the finest writers, composers and playwrights, Todd Matshikiza (1921-1967), exhumed from Leopard’s Hill Cemetery in Lusaka, Zambia. He hails from the generation of Drum writers that included Bloke Modisane, Can Temba, Arthur Maimane, E’skia Mphahlele, Casey Motsitsi, Lewis Nkosi and Nat Nakasa, whose remains were brought back by the Department of Arts and Culture in 2014.

The Repatriation and Restitution Office that was established within SAHRA in November 2022 works closely with its key implementing partner, the Missing Persons Task Team, based within the National Prosecuting Authority, in developing implementation plans to roll out the exhumation and repatriation of mortal remains.

They are currently devising a strategy of negotiating with countries with minimal numbers of graves, particularly in Europe, including Russia, the United Kingdom, the former Yugoslavia, France, Poland and Germany, for exhumations and repatriations, within the next five years. That reassures everyone that the Department and its entities have a database of all graves of South Africans that died on foreign soil during the anti-apartheid struggle for liberation. William Bloke Modisane will therefore, indeed, be coming home.

Reply:

(1). The Albany Museum, and the South African Heritage Resources Agency (SAHRA) have met with the Smithsonian Institution to discuss the repatriation of the five (5) human remains removed from Port Alfred and taken to the Smithsonian Institution. What is being referred to as a reverse-exchange will be managed in two phases. Phase one is the return of the human remains of the 5 persons whose remains were removed from Port Alfred, back to South Africa. In terms of phase two, which is the repatriation of the heads of the Peruvian individuals that were illegally donated to the Albany Museum from the Smithsonian Institution, a decision will need to be made whether the remains will be repatriated to Peru or become part of the larger South American collection that has been identified for repatriation by the Smithsonian Institution.

(2). The Repatriation and Restitution Office (RRO) of the South African Heritage Resources Agency (SAHRA) and the Department of Sport, Arts and Culture are in the process of compiling a list of unethically acquired human remains currently in the care of museums and universities/medical schools in Europe and North America; the following information has been compiled: The Australian Museum has four (4) sets of partial skeletal remains; the Albany Museum and the Smithsonian Institution will do a reverse-exchange for the repatriation of the five (5) human remains of persons illegally removed from Port Nolloth, and the Peruvian heads that are currently in the care of the Albany Museum; the Hunterian Museum at the Glasgow Museum, Scotland, has San humans in their collection; Harvard University in the United States of America is known to have the human remains of Yanghis Stuurman; the Göttingen University, and Charite Berlin, a University Hospital in Berlin, Germany, have ancestral mortal remains; and the Horniman Museum, London, United Kingdom, has San human remains.

Reply:

Department of Sport, Arts and Culture.

(1). The first contractor, Lubbe Construction (PTY) Ltd, experienced cashflow challenges during construction. As a result, he ceded his rights and obligations to the second contractor, Transtruct Construction, to complete the project; therefore the Ministry cannot take any action against Lubbe Construction.

The second contractor, Transtruct Construction, terminated his contract due to non-payment of his invoices by the Department of Public Works and Infrastructure (DPWI). This termination was within the contractor’s contractual rights. It should be noted that before the termination of the contract, there were disputes between the contractor and DPWI, which are currently under Arbitration, therefore the Minister cannot take any action against the contractor.

The third contractor, MSK Construction, appointed by the Development Bank of South Africa (DBSA), through DPWI, also terminated the contract due to non-payment of invoices by the DBSA. This third contractor acted within his rights to terminate. The termination was accepted, and the Ministry can therefore now not take any action against the contractor.

(2). The Department of Sport, Arts and Culture will not blacklist the contractors due to the fact that the first contractor experienced cashflow challenges and ceded his contract to the next one, who is currently in an arbitration process with the DPWI, as explained. The last contractor acted within his rights to terminate. Therefore, DSAC cannot blacklist the contractors.

 

Reply:

(1) CCIFSA has always operated as an independent entity, bearing sole responsibility for the appointment of its auditors. The Department has had no legal authority or mandate to involve itself in the internal affairs of this autonomous body. This is firmly grounded in the country’s legal framework and governance principles, which uphold the independence of certain institutions from government.  Any attempt by the Department to intervene in this regard, including the appointment of auditors, would have constituted an ultra vires act. For this reason, DSAC is neither privy to, nor able to comment on, the appointment of CCIFSA's auditors.

(2) DSAC is not able to confirm whether any Annual General Meetings (AGMs) were held without the knowledge of the sector. CCIFSA, as an independent entity, is the appropriate institution to provide a response to this question.

(3) The Department does not possess minutes of any AGM sittings where CCIFSA’s financials were adopted and is therefore unable to provide Honourable Mthethwa with such records. It is important to state that the provision of such minutes has never been part of our contractual agreement with CCIFSA. The support for CCIFSA was informed by our developmental mandate to nurture and strengthen emerging organisations within the creative sector. This support was also aimed at fostering the long-term sustainability of the sector, aligning its activities with national developmental objectives. During the specified period, the Department received compliance reports from CCIFSA. This in line with the MoA that was concluded as required under the Public Finance Management Act.

These reports served as the basis for continued funding, as CCIFSA fulfilled its reporting obligations to the Department. As you are aware, all departmental activities, including funding decisions, are subjected to scrutiny by the Auditor- General and, according to our records, no adverse findings regarding the funding of CCIFSA were raised.

Reply:

(1)(a). The South African Geographical Names Council (SAGNC) Standard Operating Procedures (SOPs) entail that Provincial Geographical Names Committees (PGNCs) undertake public consultations for all proposed name-change applications. Public hearings for the name change of the town Ladysmith to uMnambithi were conducted from 27 November 2023 to 01 December 2023.

(b)(i)(ii). The advertisement informing the public of the proposed name change and consultation dates/venues was published in the Ladysmith Gazette, a community newspaper, on 24 November 2023.

(c)(i)(ii). Public hearings were conducted at the following venues:

Somshoek: 27 November 2023

Ladysmith Town Hall: 27 and 28 November 2023

AmaSwazi, Lustania: 28 November 2023

Amankungwa Kholwa T C: 28 November 2023

Shabalala-Matiwane: 28 November 2023

Mabaso-KwaShuka Mhlumayo: 29 November 2023

2(a). No written inputs have come to the attention of the department.

(b)(i)(ii). The process of geographical names standardisation in accordance with the South African Geographical Names Council Act (No. 118 of 1998) and the SAGNC SOPs do not apply a referendum concept; rather the purpose of consultations is to solicit the views and opinions of the majority of those who are in support of the name change, or otherwise. Names are recommended by the Council and approved by the Minister once they are satisfied that consultation was undertaken and documented in the information provided to the SAGNC by the PGNCs.

Reply:

(a)(i). The application to change the name of Graaff-Reinet was referred back by the South African Geographical Names Council and the Minister of Sport, Arts and Culture has not approved the geographical name change.

(ii). The application to change the name of Aberdeen was referred back by the South African Geographical Names Council and the Minister of Sport, Arts and Culture has not approved the geographical name change.

(iii). The application to change the name of Nieu-Bethesda has not been brought to the attention of the South African Geographical Names Council and the Minister of Sport, Arts and Culture.

(iv). The application to change the name of Adendorp was referred back by the South African Geographical Names Council and the Minister of Sport, Arts and Culture has not approved the geographical name change.

(b)(i). The name changes were not approved by the Minister, and not gazetted.

(ii). The name changes were not gazetted.

(c). The South African Geographical Names Council (SAGNC) and Provincial Geographical Names Committee (PGNC) appoint members to serve on the advisory bodies. Members who are not employed by the state (government departments) are paid honoraria for preparatory work and attendance of meetings. Local and Provincial naming committees facilitate the advertisement of notices/posters informing the public of the proposed name changes, dates, and venues for public consultation.

Reply:

(a)(b)(c) The Department has presented A Case for Sport to National Treasury to secure more budget allocation for Sport and Recreation in general and Sport and Recreation Bodies in particular. Unfortunately, the outcome has been the reduction of the budget for sport and recreation, which is R924,530,530,000, including compensation of employees, transfers to Departmental Agencies as well as Provincial Departments.

Of this amount, R108,000,000 is to be shared by about 60 sport and recreation bodies. It is imperative that institutions such as the Portfolio Committee assist in lobbying Treasury for better allocation of funding for Sport and Recreation.

Recognising the fiscal constraints, the Department is engaging with corporate South Africa to invest in sport. However, it should be noted that this depends on corporates’ goodwill and discretion in terms of their perceived return on investment.

Reply:

Thank you for the question. I have not found that to be the case at all, and government has not interfered in rugby. I did, however, request (and I stress it was a request) that further consultations take place, given the attention on the deal and the importance of the deal for the wellbeing of rugby and the Springboks. Member unions ultimately voted against adopting the deal, and I played no role in influencing that decision.

There is no situation to rectify and there is no interference to avoid repeating.

This being said, it may be worth having a discussion with you on what your understanding of interference might be, as I am expected to provide strategic direction over the Department of Sport, Arts and Culture and the sports it oversees. I must also exercise oversight and ensure accountability – as should you as a Member of Parliament and the chair of the Portfolio Committee on Sport, Arts and Culture, which I imagine was the reason that you called SARU to the Portfolio Committee to account to you and the other Members on whichever aspects of the deal you felt the need to know more about, two days before the vote.

Should I now also have to ask you if you were interfering in rugby, as you are also part of a branch of government?

Reply:

(1)(a) The purpose of the meeting was to understand more of the details of the proposed commercial rights deal involving SARU and the Springboks, since there was a lot of public speculation fuelled by media reports and I felt it necessary to be apprised of the facts.

(b) The outcome of the meeting was an understanding that the specifics of the deal had not yet been finalised and it could still be adapted, given that the Ackerley Sports Group (ASG) truly believed they could add value by growing the Springbok brand in new and existing markets. I was advised that changes to the deal offering might need to happen to persuade SARU’s member unions to approve the deal with the required 75% majority. ASG representatives agreed to travel to South Africa to address the rugby unions’ leaders directly to consult with them and address whatever misgivings and concerns they might have had, so that the most informed decision could be taken, whether in support or against the transaction. As the Minister, I felt it was important that an investment from a foreign company showing confidence in the possible growth of South African sport should be treated with respect, even if ultimately the deal was not successful. That, indeed, seems to be the outcome. However, we want foreign investors to have confidence that South Africa and its assets are worth investing in, and that foreign investors feel welcome here.

(2) SARU’s president, Mark Alexander, and CEO, Rian Oberholzer, were present.

Reply:

1. Any form of sponsorship, including sponsorship of the Premier Soccer League (PSL), by betting companies is a commercial activity / transaction which is governed by legislation and regulations passed by the Department of Trade, Industry and Competition (DTIC). The regulators of gambling as per the National Gambling Amendment Act 10 of 2008 have measures to protect the general public, including youth, from the harmful elements of gambling and betting. It is therefore not the jurisdiction of the Minister of Sport, Arts and Culture to pronounce on the appropriateness of betting companies to sponsor PSL or sport in general. However, I have personally expressed the view during my term that the involvement of betting companies in sport has helped to address a severe need for sponsorship funding.

2. Manipulating the result of a sports match, or an event within the match, to influence betting, is against the law if the intention is to obtain a benefit or cause a loss. The South African criminal justice system deals with these matters and, as such, there has not been any need identified for special measures to be instituted by the Department.

3. (a) (b) the response provided for (1) above addresses this question.

(c) I have not identified any conflict of interest in betting companies sponsoring sports leagues.

4. As indicated above, sponsorships are commercial deals. These are concluded at the level of the sponsor (betting company) and the sport organisation. The Department has minimal control or influence, given the fact that the current laws of the country permit such deals, notwithstanding the said potential social risks.

5. The Department does not intend to introduce regulations and/or guidelines for betting companies sponsoring sports leagues. Betting is regulated through the Legislation and Regulations passed by the Department of Trade, Industry and Competition.