FI NDINGS REPORT - UNESCO...• The need for a holistic-strategic strategy and positioning of the Arts, Crafts and Design Domain in Namibia Pambili Association was registered during

FIFIFIFINDINGS REPORT NDINGS REPORT NDINGS REPORT NDINGS REPORT

A Scoping Study conducted on

the Arts, Crafts and Design

Domain in Namibia

July 2011

Objectives:

to create a more dynamic domain and develop an integrated strategy for the coordination,

development and promotion of art, crafts and design in Namibia

Submitted by:

Mariele Davel from Shâma’

On behalf of:

John Muafangejo Art Centre (JMAC) P O Box 60814, Katutura, Namibia

Tel/Fax: (264 61) 260 014

Board of Directors: Annaleen Eins; M’kariko Amalungu; Andre du Pisani; Diaz Machate; Ndasuunye Shikongeni

Arts, Crafts and Design Domain Scoping Study

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Acknowledgements

I have thoroughly enjoyed doing this scoping study. Thanks to each and everyone for taking part,

and sharing your hearts, thoughts, dreams and challenges. I hope the journey will be worth the

while and a credit to the many wonderful people I have met. You have made me proud, given me

hope and inspired me. Thank you for what you have done for Namibia and the arts, crafts and

design domain in the country. Your legacy is a credit to who you are and what you have achieved.

My heartfelt, special thanks also to JMAC who had the courage and vision to commission this

scoping study and to the Pambili Board of Directors who dreamt the dream and ignited the flame.

My apologies to those whom I have not met and talked to. In each and every contact the list of

people to meet grew. I simply ran out of time and the deadline for delivery loomed. This scoping

study is the poorer for not having reached you. May you have the greatness of spirit to provide your

whole-hearted input in future platforms and discourse and become an even greater champion of the

many wonderful endeavours undertaken in and through the domain.

Mariele Davel

Scoping Study Facilitator

July 2011


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Contents Executive Summary: Key Findings and Core Recommendations 4

Background – Why the Scoping Study was Conducted 6

• The need for a holistic-strategic strategy and positioning of the Arts, Crafts and 6

Design Domain in Namibia

• Integration with JMAC 6

• Commissioning of a Scoping Study 6

Methodology 7

• Time Frame and Initial Planning 7

• Contact List and Interview Schedule 7

• Concept Questions 7

• Public Consultative Forum, with Directorate of Arts, 21 May 2011 7

• Literature Study 7

• Findings Report 7

• Mini-Design Summit: 2 and 3 September 2011 8

Introduction 9

What is the ‘Design Domain’? - Scope, Status, Synergy 11

Raw Material and Infrastructure 15

Capacity and Capacity Building of the Domain 18

Status, Income Generation and Target Markets 24

Sustainability Issues 29

Product Range, Quality and Development 33

Truly Namibia

The Way Forward 35

• Recommended Dynamics and Key Interventions 41

• Recommendations addressing Critical Needs 47

• Novel Ideas 52

Conclusion 53

Bibliography 54


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Executive Summary: Key Findings and Core Recommendations

A scoping study of the arts, crafts and design domain in Namibia was commissioned by the John

Muafangejo Art Centre (JMAC) Board during May 2011. The scoping study was to involve key

stakeholders from the domain in interviews and all interested parties in a public forum to look into

the existing achievements, infrastructure, critical needs, challenges and suggested endeavours to

create a more dynamic domain and develop an integrated strategy for the coordination,

development and promotion of the art, crafts and design domain in Namibia. The following were

the key findings and core recommendations:

• Significant achievements have been accomplished to date in the development of offerings,

quality of products, infrastructure and expertise available on the ground.

• Namibia has the infrastructure to build a dynamic domain, but synergy and cooperation is

needed to make it work.

• The importance and appreciation of arts, crafts and design in Namibia – as source of income-

generation, heritage, intellectual capital and individual development – is not recognised nor

understood, and therefore not a priority in Namibia.

• The need for diversified qualitative data to create a clear picture of the domain is significant.

• A holistic-strategic strategy for the domain with broad-based buy-in from a cross section of

stakeholders to create integrated effort, synergy and a desired outcome is a priority. Value-chains

form a critical part of such an integrated effort.

• Large scale investments, through the cooperation, involvement and commitment of key role

players in the sector, are required for the achievement of strategic repositioning strategies.

• National-strategic role players should be properly set up and capacitated to deliver on their

mandates and fulfil their functions.

• Existing infrastructure and capacity should be better utilised to create a vibrant domain.

• Support through a network of central and regional hubs should be investigated as a central

strategy to strengthen the domain.

• For art, craft and design to be sustained it must be lived. Space(s) should be created for the

development and vibrant experiencing of art, craft and design in Namibia. These should form

part of greater holistic experiences.

• Namibian raw materials should be better recognised, researched, applied and regulated to create

sustainable use and more dynamic viable applications.

• Heritage and indigenous knowledge should be better identified, appreciated and developed into

functional application of arts, crafts and design offerings.

• Developmental interventions should be relevant, sustained and substantive to develop

craftsmanship and ensure ownership and industry-related empowerment.

• Innovation of Namibian designs is essential. There is a need to provide platforms through think

tanks and/or a Namibian Design House, composed of skilled professionals from the domain, for

the cross-fertilisation of ideas, exploration of innovative and unique designs and to create

synergies amongst role players, materials and various disciplines.

• Pricing of products should be better guided through market mechanisms and industry levers to

develop a more sound industry. This is a critical area to be addressed.


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• Diversification into more sustainable markets should receive serious attention.

• Attitudes need to be researched and a pitch found to enter the local market and develop pride in

Namibian product offerings.

• Namibia as a niche country should be identified, described and actively protected and pursued in

its arts, crafts and design offerings to create a recognisable uniquely Namibian identity and

experience. Standards, quality and uniqueness must out-perform competition.

• Commercial and social development aspects should be balanced to ensure a healthy domain and

improved income and standards of living for all involved, especially the poor and vulnerable.

• Namibia should be correctly represented regionally, nationally and abroad through unique quality

Namibian designs and products so as to attract markets and investments. This requires correct

positioning, protection and promotion of the domain and its products.


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Background – Why the Scoping Study was Conducted

• The need for a holistic-strategic strategy and positioning of the Arts, Crafts and Design Domain

in Namibia

Pambili Association was registered during 2005 as a Section 21(1) Company, not for gain, with a

social design focus, i.e. to benefit arts, crafts and Namibian design producing communities

through product development and product marketing in order to alleviate poverty. At the end of

2009 Pambili repositioned itself based on the initial years’ successes achieved, experience and

insights gained, redefining its purpose as to provide a platform for the better coordination and

integration of the design industry in Namibia, a function that is not fulfilled currently by any other

similar organisation.

• Integration with JMAC

With donor contributions coming to an end in 2009, and the Executive Director resigning to

complete her PhD in Design Management, Pambili Association continued with its operations

during 2011 through an Executive Board. This model could, however, not be sustained in the

absence of dedicated funds and in the beginning of 2011 Pambili approached John Muafangejo

Art Centre (JMAC) for the taking over and integration of Pambili Association’s strategic intent and

operations. This request was unanimously accepted.

• Commissioning of a Scoping Study

One of the initiatives suggested in the Pambili Association take-over was the conducting of a

scoping study of the arts, crafts and design domain in Namibia. The scoping study was to involve

key stakeholders from the domain in interviews and fora to look into the existing achievements,

infrastructure, critical needs, challenges and suggested endeavours to create a more dynamic

domain and develop an integrated strategy for the coordination and promotion of the art, crafts

and design domain in Namibia. In May 2011 the John Muafangejo Art Centre (JMAC) Board

commissioned the conducting of such a study.


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Methodology

• Time Frame and Initial Planning

The scoping study was initially planned to be conducted during May and June 2011 through a

combination of mini-workshops and interviews with key stakeholders from a cross section of role

players in the design domain. These included product developers and product development

facilitators; partner organizations, e.g. relevant Government Ministries; service providers within

the domain; standard setting bodies; NGOs; relevant tertiary institutions; professionals from

within the domain, including interior and industrial designers and architects; and representative

organizations. It was, however, difficult to find suitable dates where a majority of stakeholders

from a stakeholder group could be present and it was therefore decided to conduct the scoping

study through interviews only.

• Contact List and Interview Schedule

The list of people to be interviewed grew from an initial 45 to over 90 as more and more people

were included to the list during the interviewing process. In the end 54 people were interviewed

due to time constraints in meeting the set deadline for delivery of the report. A schedule of the

interviews conducted is attached as Annex A to the report.

• Concept Questions

The interviews were not conducted according to a fixed set of questions, but rather guided

around bullet points and key concepts to be explored. These points focused on the key aspects

relevant to the assessment of the status of the domain and future needs. The list of key aspects

and supporting bullet points is attached in Annex B.

• Public Consultative Forum on Visual Arts, Crafts and Design

Liaisons with the Directorate of Arts in the Ministry of Education, who is currently busy with a

similar intervention re arts in Namibia, lead to the integration of effort through a Public

Consultative Forum on Visual Arts, Crafts and Design held on 21 May 2011 from 09:00 to 17:00 at

the Goethe Centre in Windhoek, where the public was invited to participate in the discourse. The

forum was structured around the initial findings obtained through interviews conducted up to

that point in time. Approximately 50 people attended. The inputs received during the public

forum are incorporated into the findings report.

• Literature Study

Literature was availed by some of the stakeholders interviewed to enrich the scoping exercise

and reflect on surveys previously conducted. A list of literature consulted is reflected in the

bibliography section of the report.

• Findings report

The inputs, views and recommendations obtained through the interviews and public forum are

reflected in this findings report. The views expressed and resulted recommendations made by

interviewees are reflected per section, with the last sections dedicated to recommendations for

the strategic repositioning of the domain and projects to be undertaken in response to the

recommendations made.


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• Mini-Design Summit: 2 and 3 September 2011

The findings report will be fed back to the key stakeholders in the domain during a Mini-Design

Summit to be held on 2 and 3 September 2011 at the Goethe Centre in Windhoek. The emphasis

would be to discuss the core findings and key recommendations, and to obtain buy-in and

ownership on the road ahead. It is the hope that a clear strategy, with dedicated commitment

from role players, would be outcome of the summit and that it would be the starting block for

the implementation of the findings report and a new synergistic approach for the arts, crafts and

design domain in Namibia.


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Introduction

There is a saying that, “If you can see far, you are standing on the shoulders of giants.” This is true

for the arts, crafts and design domain in Namibia today. Dedicated efforts by key role players have

developed the domain into pockets of performance and achievement, thereby creating a basis of

quality, innovation, improved offerings, capacity and basic infrastructure. These successes have

demonstrated that growth can be achieved through the commitment and belief of dedicated people.

The arts, crafts and design domain in Namibia now stands at the threshold of a new challenge, i.e. to

take on a more national-strategic role through integrated effort and synergies. For many this

represents a quantum leap, but is needed in the context of dwindling and fragile markets, pressure

for greater income-generation opportunities, the future of rural communities in the context of

national growth and the positioning of the country within an ever-increasing global market.

In achieving these pockets of success, Namibia has started the journey from dependence to

independence. This journey now needs to be continued into interdependence. It is a process that

requires the fragile balance of push and pull factors within the multi-faceted realities in Namibia. It

can, however, be done with the same levels of effort and commitment that have brought the

domain to where it is today. It will, nonetheless, require the development and internalization of

new mindsets and paradigms, the aligning of efforts and initiatives, and the creation of platforms

and strategies to actively pursue an integrated, dynamic, strategically positioned domain.

As was demonstrated in change endeavours to date, substantive change, empowerment and

sustainability are only achieved through dedicated effort over a minimum period of a decade or

more. Large scale change is achieved through daily disciplined effort aligned to the desired outcome

and clear strategies that would deliver on the vision.

This scoping study is aimed at looking at the status, readiness and capacity of the domain, systems

and infrastructure in place, and critical needs re its development and positioning, to create,

coordinate and promote a more dynamic domain for arts, crafts and design in Namibia.

The report contains the findings and recommendations obtained through the interviews conducted,

as well as inputs received during the open day, per key area surveyed. Some findings might seem

contradictory in nature, but should be seen in the light of the study being conducted across a broad

base of stakeholders where varied opinions were expressed. The key findings and recommendations

under each topic therefore attempt to present the views of all surveyed in a balanced and

comprehensive manner.

As the scoping study developed, a clearer picture of the road ahead started to form. These concepts

were fed back to stakeholders during forthcoming interviews to test its viability and acceptance. The

last sections of this report are therefore dedicated to possible concrete steps that could be

undertaken as an integrated response to the premise of the study, i.e. how to create, coordinate and

promote a more dynamic domain for arts, crafts and design in Namibia. These last sections at no

point in time should be seen as representing the support and/or buy-in from all stakeholders

surveyed, but do carry sufficient weight amongst the majority of people interviewed to be included

in the report as a premise for further discussion and future action. These will be presented, for

more discourse, analysis and buy-in, during the mini-design summit to be held on 2 and 3 September

2011, where after a clear strategy for the road ahead should be available to all role players

interested in cooperating and commiting to.


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It is my hope that you find the findings, discourse and recommendations interesting, yet challenging,

and a rich source to base future actions on. Your commitment to the discourse and road ahead will

make a difference to the outcomes achieved by and for the domain.


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What is the ‘Design Domain’? - Scope, Status, Synergy

When conducting a scoping study on the arts, crafts and design domain in Namibia, one of the key

questions that arise is “What is the Design Domain?” This question pertains to the definition of the

domain, i.e. what it is perceived to be; the boundaries of the domain, i.e. which disciplines are

included; and the general status and wellbeing of the domain.

Key Findings

• The importance of the Domain is not recognised in Namibia

• Appreciation of arts, crafts and design in Namibia, as:

o a source of income-generation;

o an essential part of Namibian heritage;

o indigenous knowledge and national intellectual capital;

o critical success factor in nation building; and

o critical element to the intellectual and emotional development of the individual

is not recognised in Namibia, mainly as its importance and role is not understood. The result

is that the domain is not perceived as a national priority and as a key factor in the strategic

positioning and development of the country and nation.

• The strategic positioning of the Arts, Crafts and Design Domain should be better understood

• A critical question that must be asked is what the purpose of the arts, crafts and design

domain is, i.e. does it exist for the pure appreciation of beauty and recreational purposes; or

does it have a critical role to play in the education and consciencitizing of the individual and

nation; and what is its role regarding income-generation in the nation? The answer is that the

domain has a critical role to play regarding all these aspects. For the moment, however, art,

craft and design in Namibia does not feature as a priority on the national agenda, nor does it

challenge the day to day thinking of the “man on the street”. This needs to be thought

through and strategically addressed as arts, crafts and design define a nation and plays a

critical role in its heritage, identity and passage. Each generation plays a role and should leave

a legacy for the next generation to build on.

• The current strength of the Arts, Crafts and Design Domain is under-estimated

• Many producers, service providers and other role players are active in the domain and

significant achievements and growth has been achieved since Independence.

• Art, craft and design production creates more income than what is realised, with the result

that the importance and impact of the domain are under-valued. Two examples amongst the

many are: craft is the 3rd

highest source of income in conservancies, and the turnover and job

creation of the Namibia Craft Centre (NCC) creates income for many Namibians.

• People are blind to the opportunities and potential offered through the arts, crafts and design

domain in and to Namibia.

• Research data on the Domain is seriously lacking

• Diversified research data, and the many aspects relevant to the domain, is not available to

create a clear picture of the arts, crafts and design domain in Namibia. Specific topics to be

researched should be identified otherwise the research will not be conducted.


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• An integrated Domain does not exist yet

• The domain does not really exist. There are a few starting points, but the domain still needs

to be formed.

• Some thoughts are that:

o Industry is not doing enough for Namibian arts, crafts and design;

o Local Authorities should play a larger role in the domain; and

o The Ministry of Trade and Industry should play a larger role regarding, for instance:

� border control;

� anti-corruption measures; and

� the curbing of retail of foreign products.

• The definition and understanding of the Domain should be expanded

• There is a need to build a more expanded understanding of the arts, crafts and design domain

and the synergies with many disciplines represented. The definition should include, for

instance, town planning, landscaping, architecture, interior design, interior decorating (i.e. the

cross-over between industry and art), engineering, industrial design (e.g. furniture design),

graphic designers, fashion design, media design, stage design, film, etc. These disciplines

should be added to the disciplines already included in the more traditional definition of the

domain. This expanded understanding is in line with world trends and plays an important role

in the strategic positioning of the domain within communities, the economy and the nation.

• There is a need identified by some role players in the domain to separate arts, crafts and

design, and the various disciplines within, as each has a different focus and purpose.

• Synergy is the critical factor lacking in the domain

• A high level of internal competition and even negative practices, e.g. copying of products,

were found to be in existence in the domain. This resulted in a high levels of hurt and distrust

amongst many role players and stakeholders.

• Competition is healthy, but must be balanced with cooperation and synergy to build a healthy

domain. Namibia has the infrastructure to build a dynamic domain, but synergy and

cooperation is needed to make it work. People and attitude is the critical factor – not funding

and resources. Cooperation and synergy should be developed e.g. through sharing platforms

and by learning to rely and partner with each other. There is a great need for interaction,

sharing, increased cooperation and resource optimisation.

• Large scale cooperation and commitment is critically needed

• Large scale investments in the sector are required for turn-around strategies. This will require

the involvement, commitment and cooperation of (all) key role players in the domain.

Namibia and Namibian industry will have to make sacrifices to build a stronger Namibian arts,

crafts and design domain. The short term sacrifices will deliver significant long term pay offs.

• Linking of macro (government) and micro (producer/individual) levels is critical to the

domain’s success. Such linkages are currently not well structured, nor well managed.

• The Domain should have a clear strategy

• The design domain cannot be all to all. There must be focus, standards, a defined strategy and

vision to be successful.


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• Funds and infrastructure, to a large extent, are available to or within the domain, e.g. through

the NACN. What is needed is substantive integrated programmes delivering impact.

• The need for central coordination is urgent

• An independent body is needed to organise and drive platforms and ensure the synergy and

dynamics of the domain.

• An umbrella body for current bodies will make coordination easier.

• A web-portal for the domain, with an organisation acting as custodian, is needed.

• Artists, crafters and designers are not protected in Namibia (e.g. many artists are expected,

even required, to perform “free of charge”, art works are used without due recognition or

reward, etc.)

• One thought is that more arts and crafts activist organisations are needed to highlight the

achievements, importance and national-strategic role of the domain.

• The human factor has a draining impact on the domain

• Scarcity of expertise, including dedicated, motivated people, lead to over-stretching of key

role players and lack of availability of time and resources to take initiatives forward.

• Internal politics in Namibia and the domain is draining resources and effective strategies

towards implementation.

• National players, e.g. the NACN and NAGN should better fulfil their mandates and consult

stakeholders regarding expectations.

Recommendations

• Cooperation and synergy is the most pressing need

• Diversified research data on the domain should be a national priority

• National buy-in for the importance of diversified research data on the design industry and its

role in Namibian pride, nation building and the economy must be obtained to build up a

credible and substantive data base on the domain. Relevant data should, for instance, be

obtained during the national census information gathering process.

• A central bank or hub for arts, crafts and design domain data should be developed and a

custodian identified and capacitated to maintain and optimise such data in the interest of the

domain and the nation.

• The NACN or a central hub should be the custodian of a central web portal for the domain.

• A case for the appreciation of the national-strategic role of the domain should be actively

pursued

• A concerted effort towards building the case for the appreciation of arts, craft, design and

heritage in Namibia should be built to impact on:

o a substantive understanding of the role and importance of arts, crafts and design in

personal effectiveness and the development of thinking, creative and problem solving

abilities – resulting in the inclusion of arts, crafts and design at curriculum and school levels

and in early childhood development programmes;


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o a new paradigm regarding Namibia as a nation;

o the inclusion and level of involvement of the domain in the mass media, national debate

and the political agenda – as a critical element in nation building and defining the nation;

o the recognition and strengthening of the domain as income-generator and role in the GDP;

and

o the preservation of culture, heritage and indigenous knowledge.

• Sharing platforms and an integrated strategy should be developed

• A more synergistic understanding of the domain should be developed amongst role players

through the creation and/or optimising of sharing platforms.

• More synergistic operations within the domain should be actively pursued.

• A holistic-strategic strategy for the domain, with broad-based buy-in from a cross section of

stakeholders, should be developed to create integrated effort, synergy and a desired

outcome.

• Legislation and governing bodies should speak the same language. This includes buy-in,

advocacy of and involvement in a holistic-strategic approach towards the national-strategic

positioning of the domain in Namibia, and its integration with other sectors, national priorities

and implementation strategies.

• A central coordinating body should be established

• A neutral central umbrella body to act as custodian of the domain should be formed.

Possibilities should be explored and even possibly phased in. Such a body should consist of a

cross-section of disciplines, organisations and experts. It was the opinion that an informal set-

up and strategies (e.g. a forum) might be more successful, less costly and bureaucratic and

more viable than a formal organisation (e.g. a council). This should be further explored. It is,

however, important that no duplication of effort should be undertaken, i.e. “reinventing the

wheel”.

• A platform(s) should be created where the individual is/can be protected.

• Stakeholders should be treated equally at (equal) platforms.

• Capacitating the domain should receive priority attention

• National-strategic role players and/or bodies should be properly set up and capacitated to

fulfil their function e.g. NAGN, NACN.

• Local Authorities should play a larger role in arts, crafts and design development and

appreciation, e.g. regarding facilities, local arts programmes, festivals, etc.

• Existing platforms, organisations and bodies should be better accessed and utilised, e.g.

women’s organisations, government networks, etc. in the positioning of the domain and the

implementation of strategies and programmes.


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Raw Material and Infrastructure

Two specific aspects that impact on the status and performance of the domain in Namibia is the

availability of raw material and the infrastructure available to produce. This section therefore

specifically focuses on the means of production within the domain.

Key Findings

• Namibian raw materials are under-utilised

• The production, utilisation and value-addition of Namibian raw materials are a problem. Raw

materials are, for instance, exported, value added abroad and then re-imported back as

products into Namibia. Many raw materials are (totally) under-utilised and in some areas are

even a pest, including certain wood types.

• The United Nations, in partnership with the Ministry of Trade and Industry, will conduct a raw

material research project in Namibia during 2011.

• Regulation of raw materials, e.g. permits for wood carving, is not well monitored and

managed.

• Use of recycled material should receive more priority attention in Namibia. A method and

means for the utilisation of recycled material should be developed.

• The cost of means of production influence the domain significantly

• The cost of tools, technology and product development processes play a significant role in the

costing of Namibian products. It is therefore difficult to produce products at comparable

market prices.

• Raw material supplies is a problem as Namibians are dependent on RSA for most materials

and tools, which are imported from RSA either directly or through Namibian wholesalers. This

is a very costly process and has a major effect on the price and time of delivery of products.

Importing of relevant quantities are also posing a challenge in some instances, e.g. some

products are only sold in bulk and cannot be absorbed in such quantities by the target market.

• Due to the logistical problems and costs involved, producers who work with access to their

own raw materials often function most competitively.

• China is becoming an increasing threat. There were a few producers who did not experience

this threat, but these were the exception. An interesting comment was that China poses a big

threat because they are working together. Namibia can counter the threat if we start to work

together too.

• Namibia do not have an industry which could develop the domain

• We don’t have the industry to absorb and develop our local capacity. Some were of the

opinion that money was the key limiting factor for availing facilities and expertise to develop

the domain and industry. Others were of the opinion that it had to do with human capacity,

e.g. technical expertise or the human factor, i.e. the unwillingness to cooperate.

• Production and expression space is needed to develop the domain

• Space available to artists and/or producers at their homes is, in most instances, not conducive

to create and develop quality products.


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• Space in Windhoek is expensive and not always readily available in rural areas.

• Many were of the opinion, however, that infrastructure is not the priority challenge to work

on, but that management of resources is a more critical factor in the success and performance

of the domain.

• In Windhoek and Namibia there is no holistic public experience of arts, crafts, design and

culture, e.g. there is no night life. Experiences and hours of business should cater for the

target market(s) in a more vibrant, holistic experience.

Recommendations

• Existing infrastructure should be better utilised

• Existing infrastructure and capacity should be better utilised before new infrastructure and/or

capacity is developed. The options should be explored through detailed inventories, and

better coordinated and integrated through sharing platforms, liaisons and holistic-strategic

strategies.

• Key institutions should be better set up and capacitated (e.g. one person to oversee the NACN

is not viable). Success models could be looked into for set-up, mandate and functioning (e.g.

the structuring and mandate of the Namibia Sports Commission which falls under same

Ministry as the NACN, and sister-bodies in RSA and Botswana).

• Namibian raw materials should be better utilised

• Namibian raw materials should be better researched, applied and recognised in Namibia.

Areas that should receive special attention are the use of under-explored natural resources,

improving the value addition to locally produced products through production synergies and

the better regulation of raw materials, e.g. through certification upon labelling.

• Availability of means of production should be facilitated and strengthened

• Central availability and better utilisation of tools and work space would promote better

quality work, resulting in more marketable products. This is especially relevant to costly

and/or specialised tools, equipment and processes.

• Technology for basic small scale production and hand-made additions/finishes should receive

more attention to stimulate economies of scale which are needed for a more sustained,

realistic income.

• The option of setting up outlets across the country, through a more coordinated effort of

existing initiatives, should be investigated to create local economies of scale.

• Space should be availed for production and creating vibrant experiences

• A central and regional support agents or hubs need to be set up and managed to support

product producers and streamline value chains. Functions such as marketing, finance and

administration, project management, etc. should be delivered through these hubs or trader(s).

These should be implemented in synergy with relevant capacity building and mentoring

interventions. Models that are manageable should be explored (e.g. Namibia Craft Centre,

central hub, regional trader, etc.)


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• Space(s) should be availed for artists/crafters/designers to publicly develop products on site,

whilst doing street marketing. Models for cost-recovery should be explored, e.g. a market

entry fee (in addition to product sales).

• Strategic positioning of the creative space would be important as it needs to be a vibrant part

of a business-centre.

• This concept should be elaborated, over time/years, into a vibrant zone where a more holistic

experience of Namibian products and culture is offered in an open market/mall set-up. Some

countries apply a tourist tax, paid at every hotel, to compensate for local artists

performing/exhibiting on the streets. This could be as alternative or in addition to a gate

entry fee and could be supplemented by levies paid into a city cultural fund buy businesses in

that zone from which artists/producers are reimbursed.


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Capacity and Capacity Building of the Domain

This is the critical factor to success. Competence determines performance. Key questions are: how

competent is the domain at present; what is being done to capacitate and develop the domain; and

what should be aim of capacity building initiatives and interventions be.

Key Findings

• Capacity building efforts have delivered results

• There are many efforts towards the development of the domain, from:

o tertiary and industry level (e.g. Polytechnic Business Innovation Centre, City of Windhoek

Business Incubation Centre, COSDECs, VTCs, etc.); to

o grass-roots product development levels (e.g. Omba Arts Trust).

• These initiatives are supported by interventions and resources from the donor, government

and private sectors.

• Efforts, e.g. since Independence, have demonstrated significant pay-offs i.t.o. improved

quality of products, related increase in price per product, numbers of people involved and

income generated through the domain.

• Existing bodies need strengthening

• Despite the above, the capacity and mandates of key role players are over-stretched in

attempts to meet the domain needs.

• In the context of the above, existing bodies’ capacity should rather be strengthened and

efforts synchronised, than new ones formed, as new bodies require more resources,

overstretching the already overstretched capacity, and adds to the complexity and

bureaucracy in the domain.

• Institutions need good managers! Existing organisations must be made to function better.

This is a priority.

• Work ethics is a major problem in the domain

• Work ethics and attitude are major problems in the empowerment and performance of the

domain. Many efforts are not sustained if not continuously supported due to existing work

ethics. It was often said that, “one cannot promote someone who does not have his/her own

motivation and commitment to a bigger picture”, e.g. “I am doing this for my community/

children.” The key word in business is competent – this is difficult to find in Namibia. Space

and tools do not produce quality products and income. It is important that people realise “I

am the product”! People should be enjoying and truly involved in what they are producing

and/or selling and should understand the extra mile and the consequences of their in/actions

e.g. on themselves, their community and the industry. Role players in the domain should

develop endurance skills and must have high levels of self motivation. This is the key to

unique, quality products and experiences. The mindset in Namibia, however, is often that of

“receiving”. (Young) artists have unrealistic expectations re professional standards, the

sacrifice needed to achieve and the criteria re participation in (professional) platforms. There

is a need to develop and ingrain realistic expectations through capacity building, coaching and

mentoring opportunities and systems. People must learn to develop their own solutions.

These aspects should be emphasised through capacity building interventions and creative

workshops.


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• We need to build a Namibian middle-class with middle-class values and expectations in

Namibia.

• Development platforms should form an integral part of the development of the domain

• Feedback platforms should be established, linked to product criteria, and be an extension of

training and capacity building curricula. Appreciation for feedback and input should become a

culture and play a significant role in developing standards, debate and recognition of the

domain.

• Competitions and festivals improve quality of products, innovation and industry spirit.

• Substantive knowledge and exposure re arts, crafts and design should be developed at an early

age

• More should be done to develop substantive knowledge (e.g. through art history education)

and appreciation of art, crafts and design in school curricula and at school level.

• Domain-specific competence is required

• Knowledgeable people are needed on the ground in areas such as raw materials, product,

development and production, marketing, business, administration and management, curating,

etc.

• Local expertise re Namibian raw materials, product development, manufacturing and related

technology application is a major challenge especially in exploring new potential, innovation

and small to large-scale production processes.

• Process understanding and ownership is a major challenge in Namibia. Design, prototyping

and production are not explored as separate processes. Competence should be developed

and fully utilised at every stage of the product development and production process.

• There is a dire need to develop skills to understand and produce for identified, target markets.

E.g. there is currently very little understanding at production level for export markets.

• Namibia does not have a trading culture or heritage, resulting in a lack of entrepreneurial

skills. There is a need for specialised skills development to compliment product development

skills. These refer to skills related to managing a sound business, even at a small scale, e.g.

financial, administration, management, marketing, etc. skills. Youth, especially, needs support

as they are often lost upon completing their studies.

• Exposure plays an important role in developing these skills.

• Namibia must capitalise more on opportunities availed through donors and industrialised

countries to access expert knowledge, especially in specialised fields where capacity needs are

most evident.

• Capacity building and mentoring initiatives should be sustained over a period of years (most

often 6-10 years) until empowerment and self-sustainability is achieved. In certain instances

this even requires living with the communities for an extended period of time.

• Indigenous knowledge should be preserved. Transfer of indigenous knowledge and skills to

younger generations is a major challenge as the trade is often not seen as an art or profession.

• Master crafters and indigenous knowledge experts should be utilised through mentoring

programmes to transfer skills, knowledge and understanding of the trade to other

crafters/communities.


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• A group of people or a community should be trained to strengthen skills transfer and internal

support networks.

• Capacity building should be industry-based

• The missing link between talent and markets is production. Education teaches tradition and

passion, but industry forms talented producers and equip them for the professional world.

Incentives need to be put in place to promote the development of the industry and such

linkages.

And, the industry must be given a chance (time) to establish itself, grow and become

competitive.

• There is currently a mismatch, basically at every stage of the product development process,

between the capacity built and its application and/or utilisation within the domain and

industry. E.g. Namibia is experiencing a brain drain as the current capacity is not fully

absorbed in the domain and/or industry. This is in part caused by insufficient, insustained

markets. Capacity building and the development of the industry should go hand in hand, and

industry-based training should be relevant to supply and demand-needs.

• National training institutions’ curricula should be industry-based i.t.o. content and quotas and

programmes to be supplemented with relevant industry skills, e.g. a post graduate diploma in

marketing and curating (visual marketing).

• VTC training in Namibia is below standard.

• Development of master crafters is important

• Training needs to be substantive to create craftsmanship and quality producers.

• The cascading effect from first generation quality product developers to next generation

producers should be strengthened and better facilitated in many instances.

• A multiplication effect is needed to produce sufficient quality product producers to sustain an

industry. Currently most (master) crafters are only involved in production for self

maintenance purposes.

• The domain should generate sufficient income to enable capacity building and compensate for

the loss in production of master crafters released to do the training and/or mentoring.

• Master craftsmanship is developed in smaller one-on-one settings where time and attitude

play an important role. Sufficient resources should be availed to provide for proper grooming.

• Grooming should be done, where possible, through relevant associations.

• Support platforms, e.g. PYD, play an important role in the development of young designers/

artists.

• Funding for grass-roots capacity building is needed

• Funding is a major challenge re capacity building as grass root producers and communities can

seldom afford/invest in their own development.


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Recommendations

• A data bank on capacity building initiatives and service providers is needed

• A substantive inventory of all role players re capacity building in the domain should be

undertaken and regularly updated.

• Capacity building initiatives should be better aligned to deliver sustained results

• Existing capacity building opportunities, resources and interventions should be better

synchronised and optimised through discussion platforms and central coordination.

• There is a need for a basic capacity building strategy, with dedicated role players and

resources (e.g. through government involvement) and contingency plans, for the domain to

develop strategically. Such interventions should focus not only on building relevant domain-

specific competence and craftsmanship, but also on non-technical skills needed to develop

and sustain a successful business.

• Recipients of capacity building initiatives should be broadly categorised, e.g. start-up,

established and well-established, and capacity building, mentoring and grooming

interventions aligned through basic strategies to address the specific needs. A “one size fits

all” approach is not the solution to the development of the domain and role players should be

developed according to their own “readiness”-level.

• Capacity building interventions should be sustained, in many instances for a period of 6-10

years, to ensure empowerment, ownership and sustainability.

• Such interventions should be linked to demonstrable outcomes and monitoring and

evaluation mechanisms re the above must be built into projects and developed for the

domain.

• Capacity building initiatives should be industry-aligned

• Capacity development should be better aligned with the industry through, amongst others,

national-strategic strategies and liaisons, and tracking programmes.

• Highly talented people should be profiled, linked and absorbed into the industry.

• Design and production processes should be better analysed and described and capacity

developed and utilised accordingly.

• Interventions should be timed according to recipient needs e.g. sales training of 1 hour per

day vs. whole day training, the seasonal nature of rural areas and perception of time, etc.

• The national-strategic role of capacity building should be recognised

• More should be done to promote art, crafts and design in school curricula and at school level,

i.e. developing a problem-solving, creative mind; and investing in the next generation of

quality artists, crafters and designers.

• The development of professional standards and work ethics in the domain should be a priority

• Work ethics, professional standards and realistic expectations re the design domain need to

be addressed through:

o Higher standards of practice required, e.g. participation in exhibitions should meet

minimum criteria and standards;


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o Eliminating “free” services by or for artists/producers. Even if services are offered initially

at a rebate or subsidised, all services should be paid for;

o Development support should be linked to measurable outcomes. A basic strategy and/or

guidelines should be included in a national arts, crafts and design policy;

o Capacity building, coaching and mentoring initiatives should be broadly described in a

system of grooming to ensure a more holistic-strategic and integrated development of the

design domain linked to measurable outcomes aligned to domain needs;

o Feedback and critiquing platforms should be established and linked to capacity building

interventions. Such interventions would be most helpful if it is linked close to the time of

production to optimise learning;

o Exposure experiences e.g. exchange programmes (even within the country), study trips, etc

have proven invaluable and should play an essential role in developing the design domain.

The earlier the age of the intervention, the more significant the impact for future

generations;

o Students in the domain should be linked with producers to close, amongst others, the

design gap;

o Opportunities and interventions to develop social and interpersonal skills e.g. through role

plays, exposure visits, coaching and/or internships should form an essential part of capacity

building interventions;

o Accessing professional platforms and opportunities to stimulate critical, entrepreneurial

and synergistic thinking should be part of professional standards and development

interventions;

o Training artists/crafters/designers on their rights and rights on their products e.g. copy

right should be included in capacity building and mentorship programmes; and

o The media should be equipped to critique and promote art, craft, design and heritage in

Namibia.

• Persons with ethics, passion, understanding and substantive theoretical and/or technical

background should be employed in national-strategic positions to ensure such institutions

fulfil their mandate within the domain and nation.

• Capacity building should include environmental impact and sustainability issues.

• A conducive environment for entrepreneurship should be created

• Entrepreneurship is a major need in Namibia and should be actively supported through

opportunities and resources availed (e.g. loan schemes).

• The Ministry of Trade and Industry should play a larger role in post-support and creating a

conducive environment for the sustainability and growth of the domain, e.g. through phased

support re product development, protection of vulnerable players in the domain during the

initial years of operation, etc.

• Capacity building should emphasise Namibian heritage

• Skills to develop Namibian raw materials into functional products should receive more

attention.

• Heritage and indigenous knowledge should be included in education and capacity building

programmes, with a specific emphasis on involving the youth.

• As part of an exchange programme within Namibia, students and young artists/producers

should be sent into the regions and/or communities, as part of their curriculum, to learn


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traditional skills and to cross-fertilise within communities on market-related development of

Namibian products.

• Capacity building should focus on developing master crafters

• Interventions to develop master crafters should be actively pursued, e.g. through the release

of current master crafters - to improve production standards in Namibia, create sustainability

in the domain, and to ensure a “second generation” of master crafters.

• Master crafters should be compensated for loss of production so that they could be released

as trainers and mentors in the domain.

• Relevant associations should play a role in grooming of (master) crafters.

• Internships should be supported e.g. through government tax rebates.


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Status, Income Generation and Target Markets

The previous two sections focused on the enabling factors in the arts, crafts and design domain in

Namibia. This section will focus on the actual performance of the domain i.t.o. outcomes achieved

and the challenges, insights and growth needs re these aspects.

Key Findings

• The role of the domain in the national GDP is not clear

• Various indicators demonstrate that income generation through arts, crafts and design has

gone up substantially since Independence.

• Diversified research data is, however, not available to provide accurate facts on the

performance of the domain nor to create a clear picture of the industry. This is a serious

limiting factor in the analysis, positioning and development of the domain.

• Understanding and developing target markets should receive serious attention

• Art, decor and tourism are the main markets, with the main source of income being tourists

visiting Namibia. The first two markets are more costly to pursue and cater for, but more

innovative and creative.

• Products must be produced with a target market in mind. Every product must carry a

message. The message must be understood for the product to be marketed. This is, in most

cases, not currently the case. Most producers have very little, if any, knowledge about their

target market and buyers.

• Markets are not created, but found and are based on demand as determined by trend setters,

media or marketers. A good artist/crafter will find a market.

• Markets must exist to create a demand for products, skills, professions and standards.

• Different markets need different strategies and should be marketed and managed differently,

e.g. art is unique, craft has more soul and curio is cheap. The domain needs planning to have

the rights products for the right markets, e.g. large products for tourist markets are

inappropriate.

• Certain products, by their very nature, require niche markets. Niche markets set standards

and pull the industry, but are very expensive to reach. To attain the required production

standard for niche markets in rural settings is nearly impossible, especially where products

need to be mass produced according to strict specifications and production standards, e.g. as

required by retailers of large stores and RSA lines.

• A marketer is needed to sell products. A producer is not necessarily a good sales person.

• Marketing opportunities should be better utilised. This includes targeting specific audiences

for specific interventions, e.g. exhibitions and other fora. For example, not only friends should

be attending exhibitions, but people with influence and buying capacity should be targeted.

• In Namibia better use of technology should be made in marketing strategies, e.g. sms’s and

the internet.


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• The viability of export markets should be investigated

• Export is a tough market to penetrate. It is extremely selective, involving high logistical costs,

and requires a committed marketer(s) abroad, competitive pricing and quality and quantity

supply in reproducible products, with committed labour delivering according to exact

specifications. All these pose major challenges in the Namibian context, especially where the

realities of women in rural, communal settings are taken into account.

• Little, almost no, export of products is undertaken by grass-root producers.

• Namibia tends to focus on Europe for the export of products, but many designers come to RSA

and exhibitions, fairs, etc. in RSA and SADC should be better utilised. The USA might be a

better market to target than e.g. Europe as people have bigger homes and a better

understanding of local, indigenous products as they have native-Americans and wealth. Japan

might also be a possibility, offering a small and exquisite market. Even China with its growing

art market due to globalisation and growing economies could present an export opportunity.

Europe is a small and niche market.

• Namibian products are often not realistically and competitively priced

• Namibia is the 4th

growth country for tourism, yet it is a fickle market and the question is

whether it can be sustained as Namibia is not a cheap tourist destination, and prices are going

up, leaving less money for purchasing extras, e.g. souvenirs.

• Namibian products are pricy, comparatively, due to raw material and labour costs, as well as

work ethics. A different work ethics and expectations should be developed to be locally and

internationally competitive. There is a need to cut down on the middle man, especially since

logistics are expensive.

• There is a wide disparity in income generation from grassroots to industry level. At grass-

roots level prices are open to negotiation and therefore more vulnerable and fluctuating, and

often under-priced and unrealistic vs. e.g. the cost of production. At industry level, however,

products are often over-priced by retailers. Both systems of pricing are detrimental to the

industry.

• Prices of products must reflect availability of raw materials, production process, etc.

• Niche markets are in many cases more successful i.t.o. income-generation, than bread and

butter lines, due to the price per item obtained. Niche markets are also less threatened by

competition and more sustainable if “the fingers are kept on the pulse” and product

innovation maintained.

• The strategic intent of arts, crafts and design should be clarified

• The purpose and target population in the positioning and development of the arts, crafts and

design domain must be clear for the strategic positioning and development of the domain, e.g.

is the primary purpose of the domain to generate income for marginalised communities; or to

provide for the self-sufficiency of artists/crafters/producers; or to generate income in the

national context and be a contributor to GDP?

• There are strong opinions amongst many stakeholders that the domain should provide more

income-generating opportunities to be seen as a priority on the national agenda and to

stimulate the status and development of the domain. In a country like Namibia, with high

unemployment rates, income-generation through art, craft and design should be the main

focus. The domain can not just exist for aesthetic reasons only. The question was asked, “If

income, employment and revenue are not generated, what is the purpose?” Many


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communities, for instance, do not have other sources of income than arts/crafts. It is their

only chance at income-generation and development. In this respect, models need to be

looked at where returns are ploughed back to the grass-roots and actual producers of the

products.

• Some felt that community development and commercial enterprises are in conflict and need

to be dealt with separately.

• The Namibian market needs to be diversify and the local market explored

• In view of the above, Namibia needs to diversify and alternative income-generation options

and markets explored.

• The power of the domestic market is under-estimated, e.g. 33% of beds sold in Namibia are

local and the corporate sector has buying capacity. These and other Namibian markets should

be researched, understood and penetrated. Generally speaking, however, corporate,

industrialised Namibians are image or adventure-oriented and few Namibians have a

developed interest in art, craft and design.

• For the local market to develop, it is important that Namibian designs and products be sold in

Namibian chain stores, including those owned by foreign companies. In this regard a young

designers’ emporium with a street house/warehouse feel for the middle class should be

established.

• Differentiated rates should be applied for the local and foreign market to make the local

market accessible to Namibians.

• Some serious concerns were, however, expressed stating that the market lies abroad as the

Namibian market is too small to provide competitive alternatives. Some producers in niche

markets locally are doing well, but on a smaller scale.

• Some felt that the crafters and markets are there, but that increased production is needed.

This is difficult to pursue in Namibia due to work ethics, skill shortages, cost of salaries, the

seasonal nature of many producers, product quality, raw materials, innovation, market

shortages, sustainability, etc. Some persons were therefore of the opinion that a commercial

industry is not a priority in the art, craft and design domain, as Namibia is not ready for mass-

production at this stage. Communities should be ready for development and need to grow

into it at their own pace, need and interest.

• The strategic positioning and image of the domain

• The arts and crafts product offering is very fragmented in Namibia. It should be explored what

the Namibian art, craft and design should do to earn international credibility.

• High quality products/producers should be recognised to give recognition, improve standards

and develop the professional image of the domain.

Recommendations

• Diversified data on markets and market trends are needed

• An inventory of arts, crafts and design in national expenditure, volumes of sales and

movements, buyers and their profiles (domestic, regional and abroad), reason for purchase,

etc. needs to be developed.


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• Diversification of the market should actively be explored

• Diversification of more reliable and sustainable markets should receive serious attention. This

will probably only be achieved through a synergistic effort of key role players in the domain.

• Possibilities in developing the local Namibian market should be explored. These could include

the possible small scale mass-production of currently existing quality Namibian products for

functional use by the local market. Prototypes and production resources should be identified

for replication and business viabilities and realities explored. This model could also possibly

accommodate basic product production at grass roots level and value addition centrally, as

these require different skills sets and tools.

• The concept of one product, one community, one market should also be explored, with

possibly local application, e.g. linking of a lodge with a local community product.

• For the local industry to develop, Namibia will have to invest in the development of the

manufacturing industry.

• Namibia must grow a middle class to grow a local market. Linking with the national nation

building campaign in this regard would be important as it would require changing of

paradigms, expectation and behaviour patterns.

• More should be done to develop an educated consumer and the media should be actively

involved and better equipped and utilised to play a substantive role.

• Developing of niche markets of high quality unique products custom-made for identified

buyers/markets, both local and abroad, should be better explored and coordinated to create

local value chains, as this seems to be a viable option for diversification of the market.

• Alternatives re export opportunities should be explored.

• Commercial and social development aspects should be balanced to ensure a healthy domain

and improved income/standards of living for all involved, especially the poor and vulnerable.

• Pricing of Namibian products should be better guided

• Pricing of products should be better guided through market mechanisms and industry levers

to develop a more sound industry and pride in Namibian products.

• Services from artists/crafters/designers in Namibia should no longer be required free of

charge or at ridiculously low rates, e.g. cultural dancers, art exhibits. Comparable,

professional industry rates should be paid to develop fair trade and the image and status of

the domain.

• There should be a national minimum standard for products and stalls to be operating in

Namibia, e.g. maintained by Local Authorities, to improve the credibility and vibrancy of the

domain.

• Development of the domain through synergies and recognition

• Synergies and value-chains should be better understood, mapped and explored to create

higher levels of synergy and cooperation in the domain, resulting in higher levels of innovation

and economies of scale. This could be achieved, amongst others, by involving more disciplines

into the value chain, production processes and total product experience, e.g. graphic

designers, architects, town planners, industrial designers, lodges, service providers, tour

guides, etc.


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• Networks should be better managed and maintained to provide reliable partnering, greater

focus, sustainability and credibility to all parties involved.

• Public recognition and support of achievements in the domain should receive more attention,

e.g. the public recognition of quality products, innovation and industry support to the domain,

and should be actively used to build the domain.


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Sustainability Issues

Sustainability refers to the continued performance of the domain, the challenges it faces and how it

should be addressed, also in the light of the role and mandate the domain should be fulfilling in

future. Some aspects were already addressed in other sections, e.g. under capacity building. This

section will look into the findings critical to the future of the domain not addressed in other sections

of the report.

Key Findings

• The sustainable delivery of quality products is a cornerstone in the sustainability of the domain

• Sustainable delivery of quality products is necessary to ensure markets and good contracts.

Without such there is no uptake of any art, craft or design. Producers and the Namibian

domain need to earn the interest and trust of the local, tourist and foreign markets to

maintain such markets. Given the vulnerable nature of current markets this is a factor that

needs to be addressed pro-actively. In the case of foreign markets and/or to replace product

orders, e.g. from RSA suppliers with local orders, that trust needs to be earned through the

reliable delivery of quality, sustainable, on time delivery, to specification products. Keeping

the finger on the pulse and being innovative is critical to sustained success.

• This sustainability and growth can only be achieved if value chains are better explored,

managed and maintained and mechanisms put in place to make every aspect of the chain

viable within the given context. Such value chains are especially difficult to maintain due to

the human factor involved. For instance, the reality of producers must be taken into account,

especially production of products at grass roots level given the seasonal nature of work; the

fact that mostly women are involved; that arts, crafts and design is a full-time occupation for

few; and that what is created must fit into grass roots producers’ daily living, including the

way of compensation e.g. in some areas money has no value; some producers can work with

delay in payments, some cannot, etc. In the more formal, industrialised context levels of

competence and competitiveness; the need for people to be unique; differences in work

ethics and expectations; etc. impact significantly on the establishment and maintenance of

markets and value chains.

• Some resources exist that are currently not optimally applied and which can possibly be better

utilised to ensure more sustainable production chains, e.g. students from COTA and NIMT, and

ladies working for Penduka and Karas Huisen Crafts. These concepts should be properly

explored, aligned and set up so as not to undermine current successes and to ensure

consistency in demand.

• All role players should, where possible, become actively involved in the value chain as synergy

is critical to the future strategic positioning and development of a marketable and vibrant

Namibian arts, crafts and design offering.

• The role and involvement of traditional authorities and/or conservancies should be considered

when future causes of action are explored. In some areas it might be the best option to

pursue, whilst in other areas it would not be viable or advisable. The facts pertaining to each

specific case would determine the best route to take.

• Government should play a more active role as regulator and creator of a conducive

environment in the development and national strategic positioning of the domain, but should

not be involved in day-to-day operations. This should include incentives for the growth of the


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domain and industry and the protection, within certain contexts, of Namibian products and

production processes.

• Project management e.g. of supply and demand, is critical in the management of markets and

contracts. Given the realities in Namibia, especially at grass roots level, a system of regional

uptake might be a route that needs to be explored, e.g. a regional trader that would

smoothen supply and demand issues for all role players involved, purchasing products from

grass roots producers across the country, ensuring the quality, fair pricing and marketability

and providing raw materials where needed. There are some opinions that such a trader can

be self-sustainable, whilst others feel that such a model would need external funding as grass

roots producers are too poor to afford such services and that the effect on the mark-up would

be too high to ensure competitive pricing.

• A concerted effort re marketing and positioning is needed

• There will be no maintenance or growth of markets if there is no concerted effort at the

marketing and positioning of products and the domain. Marketing and advertising is very

costly, especially for smaller industries and organisations. It also poses quite an administrative

and logistical burden. There is a need for this function to be central supported and/or

provided, especially for the smaller scale producer in Namibia.

• Passage of competence and knowledge need custodianship

• Continuity beyond pioneers and drivers of initiatives is a major challenge in Namibia. More

should be done for contingency planning in the establishment and start-up phases of

initiatives to ensure empowerment and sustainability.

• Communities should be involved from the outset and throughout the process of grass roots

initiatives to ensure transfer of knowledge and sustainability. Crafts production also

strengthens community.

• In Africa, indigenous knowledge and heritage is not preserved by the people in museums, but

within the communities themselves. As a result, heritage and indigenous knowledge are not

properly cared for. Namibia needs to take proactive action to ensure that its national heritage

and indigenous knowledge are preserved.

Recommendations

• All-embracing involvement and value chains for strategic positioning are needed

• Stakeholders in the country:

o at all three levels of government, i.e. central, regional and local;

o from the informal and formal sectors; and

o the design domain;

should commit to and develop an all-embracing approach towards the development and

positioning of arts, crafts and design in the country, to ensure strategic direction and clarity,

and commitment to a desired future(s). This does not mean that all should be involved in

exactly the same aligned effort, but more that a clear picture of the domain, its purpose(s) and

intended outcomes are defined, taking full cognisance of the different dynamics and various

realities in the country. Value-chains form a critical part of such an integrated positioning and

an all-embracing approach should be pursued. The result should be more integrated effort

towards clearly defined outcomes, e.g. streamlining of role players in grass roots development

through to markets and/or the development of a sustainable industry. If the picture is clear,

each role player can identify and streamline their role towards building the holistic picture.


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• A phased approach with a long-term strategic view should be the approach for

implementation to ensure viability, results and sustainability. The start should be the bringing

together of the currently active role players in the domain and to develop through the ripple

effect created by the momentum developed, as opposed to the “big bang”, i.e. trying to be

and do everything for everyone simultaneously and overnight. Dedicated effort aligned

through a strategic strategy applied over a period of 12 to 15 years has changed many a

nation.

• Cooperation and/or integration with existing initiatives, e.g. the conservancy strategies,

cooperatives, the nation building campaign, etc. should be carefully considered and worked

into the holistic-strategic strategy for the domain.

• There should be cooperation within the SADC region, to preserve and promote especially

cross-boundary rich heritage. Relevant bodies should be involved e.g. in fora and

collaborative initiatives.

• Government’s contribution in nurturing the domain should be better spelled out

• The need for an arts, craft and design policy to nurture the domain under the custodianship of

government, should be investigated once principle momentum and synergy have been

established.

• Government should fulfil its role as custodian of the nation. The specific role and mandate to

support the development of the domain should be worked out in consultation with key

stakeholders from the domain and the intended long term strategy. E.g there is a need for

producers and the Namibian industry to be protected in areas where know-how exists to

allow the local industry to grow in its areas of strength, even if such measures are phased out

over time to allow for the full application of free-market principles; and incentives re the

payment of import VAT on raw materials should be legalised to stimulate local production /

manufacturing. These and other suggested measures should be worked through i.t.o. viability

and impact.

• Regional and central support hubs to the domain should be established

• The concept of a regional trader should be further explored to facilitate, amongst others,

regional uptake and resourcing at grass roots levels within the context of fair trade, to

streamline supply and demand and link producers to markets at a potentially more

sustainable and larger scale.

• The regional trader should feed into a central marketing and warehousing function, allowing

for streamlined distribution and a more strategic positioning and marketing of Namibian arts,

crafts and design products.

• A concerted effort re marketing and positioning is needed

• Aggressive marketing is needed to build the local market and tap into the untapped potential.

• A professional organisation might have to be recruited or developed for the marketing and

retailing of Namibian products, both local and abroad.

• Arts, crafts and design should be vibrantly lived to be sustained as a national heritage

• For art, craft and design to be sustained it must be lived. It will not be sustained and/or

become a substantive player, e.g. re income-generation, in the country if it is not lived as a

vital aspect of daily life, culture and practice. The people of Namibia must be involved in

understanding this concept and its consequences and should become consciously active in


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developing the domain, from city planning, doing business, to defining the nation, its heritage,

past and future.

• Whole communities should be sensitised, mobilised and capacitated to preserve skills,

indigenous knowledge and heritage.

• Documentation of heritage and indigenous knowledge, including storytelling, product

development, conservation, etc. should receive priority attention. Preservation through art is

a story in itself.


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Product Range, Quality and Development

During the scoping study it became evident that there are two specific aspects that are important in

the future performance of the domain. One is the quality, range and development of Namibia’s art,

craft and design offering – which is addressed in this section – and the other is the identification and

promotion of uniquely Namibian products and designs.

Key Findings

• Without continued innovation markets cannot be sustained

• Sustainability and competition are about uniqueness, not the other product. This is especially

true in a more competitive and open, global market. Design gives a competitive edge – but it

must be innovative, i.e. products should be unique, trendy and marketable to sustain demand.

Quality and product development needs continuous, consistent intervention, support and

guidance for it to be responsive and demand-sensitive. Currently, there are very few unique,

creative designs in Namibia and only in extremely exceptional cases are products designed for

specific identified market needs. Innovation of Namibian designs therefore is a dire need.

There is a feeling that Namibia is approximately 10 to 15 years “design-late”, although some

visitors to the country are amazed at Namibian designs and that Namibia can boast with world

class designers, e.g. re jewellery design. In stimulating product improvement, innovation and

design should, however, not be stifled by standards and specific definitions.

• Innovation and market-sensitivity also reflects on the manipulation of raw materials which

should be customer and market-related, e.g. the colouring of raw materials should sustain the

integrity of the product, suite the taste of the target market and match current world trends.

Other aspects that need special attention are the quality of threading, packaging, labelling,

etc. In Namibia there is, in many instances, insufficient attention given to detail.

• International benchmarks and standards, e.g. fair trade, are important considerations in the

marketability of products and for sustainable, credible processes.

• The functionality and durability of Namibian designs should be improved, especially to trend

with the current world economy, where everyday use of products should be considered and

products developed and adapted accordingly. Transportation costs, small homes and the

current global climate in Europe affect especially the tourist market.

• Cross-fertilisation of ideas is critical for product design and development. In this regard

sharing platforms, cross-functional exhibitions and other such interventions play an important

role in the development of the domain. One such example is a possible Namibian Design

Indaba currently under discussion by The Polytechnic Business Innovation Centre and the

Ministry of Trade and Industry with the aim to bring together issues of product, quality and

standards. This idea still has to be followed through.

• Current successes

• Traditional products sell well as small curios.

• Traditional designs, blended with a more innovative application and/or modern trends, sell

well for niche or more upper-class markets.

• Storyboarding of the product origin and/or development is important.

• Handmade is important only where processes are involved e.g. the production of Marula oil or

where products are produced by HIV/Aids or TB patients, etc. In most other instances


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handmade is not necessarily a sales pitch. Hand-finished can, however, add to the uniqueness

of the product, especially where designer products are involved. In such instances hand-made

finishes would be a sales pitch.

• Diversification of the product offering should be stimulated

• To stimulate diversification, innovation and the growth of the industry, producers/designers

must be encouraged to develop product ranges. One way to stimulate this is to make it an

entry requirement for all producers/designers participating in exhibitions, especially abroad.

• Designers should have designer and bread and butter lines. The first is more unique and

signature (patented), whilst the second would be open to prototyping and reproduction. This

approach should be encouraged to secure producers’/designers’ own livelihood and to help

build a diversified product offering and an industry in/for Namibia.

• To develop a complete production process

o from sustainable raw material harvesting practices,

o to the final marketable product,

o including value addition, packaging, retailing and possibly export,

is a costly and lengthy process. It involves investment of resources, technology and

continuous, sustained capacity building over an extended period of time to produce a

competitive reproducible market-ready product.

• Money should be availed by the industry and/or domain to develop concepts further, e.g. i.t.o.

marketability, to stimulate the development of product ranges and small-scale industry(s).

• Protection of intellectual capital and Namibian designs is a challenge

• Copyright and/or patenting is a big problem in Namibia, with many concepts being used

and/or copied by other role players in the market. Despite the challenges experienced, many

feel it is not worthwhile to pursue copyright of designs as it is a too difficult and laborious a

process. Quality and continuous development through innovative designs is the answer.

• The individualistic nature of people, especially in capitalistic situations, should be recognised

in models, e.g. people don’t want to give away their trade secrets, and artists want to be and

are by nature unique and self-directed. This impacts, especially, on partnering and the

creation of synergies.

• The Polytechnic Business Innovation Centre offers courses and assistance re copyright and

patenting of concepts and designs.

• Copyright, the protection of grass roots intellectual capital and indigenous knowledge should

become part of the public debate and mechanisms for its protection should be put in place by

the design domain and addressed in the arts, crafts and design policy for the country. Grey

areas e.g. using and paying for art works in education, collective community rights,

exploitation and sacrilegious application of art, craft and design, etc. should receive specific

attention in the discourse and guidelines.

Recommendations

• Namibian product design needs innovation

• Innovation of Namibian designs is a dire need.

• The functionality of Namibian products should be enhanced, especially in view of the world

economic climate.


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• Application and/or manipulation of raw materials should maintain the integrity of the product

and be market-sensitive.

• Packaging of Namibian products should be better understood and should improve drastically.

• Diversification of the Namibian product offering is needed

• Products should be developed into product ranges; and

• Designers should be encouraged to develop designer and bread and butter ranges;

to increase the credibility, reach and offering of the domain and to enhance income-

generation opportunities. Various markets targeted should include exploration of the local

market. Incentives, guidelines and mechanisms to encourage and manage suchinitiatives

should be developed.

• Money should be availed by the industry and/or domain to develop concepts further, e.g. i.t.o.

their marketability.

• Copyright and the protection of Namibian heritage and indigenous knowledge should become

part of the public debate and individual and communal rights should receive better protection


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Truly Namibia

An aspect that is very critical to the debate re the positioning and development of the domain is the

need for and importance of a uniquely Namibian arts, crafts and design offering; the viability, impact

and consequences of such on the domain and the nation; and the ability of the domain to cater for

such an offering.

Key Findings

• A uniquely Namibian identity and offering is important

• A significant fact is that art, craft and design defines a nation. In the absence of a clear

identity, what fills the vacuum and what are the consequences for the nation? Do we as

Namibians have a clear, expressed and commonly appreciated identity?

• Some strong opinions were expressed in favour of developing a unique identity for/through

arts, crafts and design in Namibia. Some even felt that it is a dire need, and were truly

inspired about pursuing the concept. Others felt that one should be careful to brand Namibia

in the international domain as few countries have branded themselves and that such an

endeavour could be limiting to the product offering.

• The experience is that the Namibian product range is the same all over Namibia and Africa,

and that there is a serious need for uniquely Namibian designs, especially if we want to

market and position Namibia abroad and offer a diversified experience to tourists touring the

country.

• Unique identity should be based on values and identifiable character traits

• Namibia has a well-mapped, clear cultural heritage.

• The characteristics and qualities the domain want to have associated with Namibia and

Namibian arts, crafts and design should be researched, identified, captured and expressed

based on the unique experience and character traits of Namibia.

• Some initial concept ideas on the unique Namibia offering were: rugged, natural, soulful, sun,

space, timelessness, no judgement, scarcity, pace, effortless, seclusion, culturally rich.

• These initiatives should be aligned with other branding exercises, e.g. undertaken through the

tourism industry and conservancies.

• There is a need not only to capture and express the uniqueness of Namibia, but also to

develop such an offering per culture and/or region to cater for a diversified experience within

Namibia.

• Branding must have substance

• A brand must have substance, an “aha”-experience, that immediately differentiates the

experience from other experiences.

• Branding includes the complete package applied consistently to become a recognisable

product. This includes production methods, procurement procedures, community benefit,

ethics, preserved culture, customs, stakeholder involvement and attitude, packaging,

environmental aspects, etc.


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• Truly Namibian must therefore be identifiable at face value as a high quality, uniquely

Namibian product and should be offered at comparable prices and marketable options to be

desirable and accessible to target markets.

• Underlying values give consistency to the brand, e.g. community-based, fair trade, etc.

• Defining truly Namibian is a challenge

• Identifying, categorising and labelling truly Namibian products is a challenge. Some concepts

for the categorising of such were: produced in Namibia; produced from Namibian raw

materials; traditional Namibian design based on cultural heritage. These should be further

explored to define product labelling and management of the concept.

• Communities should be involved in the identification and defining of truly Namibian products

and a Namibian identity. The concept should not be identified and described externally and

all ethnic groups in Namibia should be involved.

• Controversial issues should be debated before the concept is publicly launched to ensure, for

instance, that Namibian designs, however contemporary, show respect for Namibian cultural

heritage and national values; that the commercial use and application of indigenous

knowledge are well-thought through to protect against exploitation and sacrilegious

application (e.g. Omakipas); and that community rights are respected re indigenous

knowledge, otherwise it will be swallowed up by commercial entities or the indigenous

knowledge will be lost, e.g. the hodia.

• If the domain wants to brand Namibia, care should be taken to be really focused i.t.o. viability

and consequences, as not all Namibian designer products are selling well and some products

are comparatively costly to produce, e.g. Namibian textiles.

• Few countries have a broad range of products. Namibia should therefore rather look at re-

positioning itself through the involvement of designers.

• It would be important for all role players to coordinate and pull together for such a national

initiative to succeed.

• Namibian products should be tested locally first e.g. with local Namibians, retailers and service

users e.g. lodges, before it is branded as truly Namibian and marketed as such abroad. Cape

Town 2014 presents a possible venture to showcase and test truly unique Namibian designs.

• Some stakeholders felt that the identity to be developed should be African, as opposed to

Namibian and that in the expression of arts, crafts and design, truly African should also be

explored as heritage across boundaries, e.g. San, Nama, etc.

• The application of truly Namibian should be visible and an experience

• There is currently no specific dedicated area where truly Namibian products only are sold.

This is a dire vacuum identified by many role players in the domain.

• Not enough is done to display, promote and protect Namibian products locally and abroad.

Aggressive professional marketing using mass media, aimed at specific relevant target groups

and correct packaging and curating is needed.

• Namibian products sell especially well if linked to an experience, e.g. a place visited, nature or

cultural tourism, as a tourist/buyer wants to buy a “piece of the country and/or experience”.

• “Stories”, e.g. how the product was developed, the cultural heritage, etc. are important as

part of the Namibian experience and is a definite sales pitch.


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• A total Namibian experience, e.g. through the cultural village concept or Namibian market,

should be explored through synergy of various disciplines as a multi-disciplinary and sensory

experience, e.g. through combination of product offerings with storytelling, music, dance,

poetry, etc. at dedicated sites.

• Appreciation of Namibian designs should have local substance and application

• Awareness should be raised in Namibia re the (economic) importance of culture. As culture is

a way of living, and not seen as preserved in museums, it is not recognised as important.

Culture should be used to unify Namibians and bring appreciation of the arts, crafts and

design domain.

• Namibians, generally, look down on local products. This is often due to the comparative

quality and reliability of Namibian products and because consumers are not protected in

Namibia. It is also not “imagy” to be local, especially in post-Independent Namibia, where

globalisation and the need to look “industrialised” have become important. Loyalty to

Namibian products, however, is slowly growing.

• Local attitudes need to be researched and a pitch found to enter the local market and develop

pride in Namibian products. This should be pursued aggressively and leaders and role models

should play an active role in living and promoting a truly Namibian identity. “Living treasures”,

i.e. products, people and icons that stand out and set the benchmark i.t.o. image, prestige and

rewards should be the anchors of the Namibian identity. There cannot be success outside if

there is no pride inside. Building pride in what is Namibian, both nationally and

internationally, is critical.

• Namibian national symbols, e.g. embassies, airport shops, government buildings, Namibian

parastatals e.g. AirNamibia, Namibia Wildlife Resorts, etc. should be required to display the

national identity in their décor. People must see and feel Namibia in its National Symbols.

• The National Arts Gallery of Namibia (NAGN) should curate quality contemporary Namibian

products and designs and must have fabulous collections of product design development(s).

• Young designers should be stimulated to take up contemporary Namibian design, e.g. vs.

euro-centric designs.

• Direct marketing to big corporations in Namibia should be undertaken to buy into and

champion the truly Namibian identity.

• Truly Namibian should be linked to the National Nation Building Campaign.

• The media should be actively involved in building pride, marketing and positioning of the

Namibian identity, its image and standards.

• A truly Namibian collection and catalogue could be built up over time to symbolise and display

quality Namibian products, designs and symbols.

• Controlling and protecting the brand is challenging, but needed

• Many non-Namibian products are sold as arts, crafts and designs in Namibia, especially from

other African countries. It is, however, nearly impossible to control the sale of non-Namibian

goods in a free market. It is therefore important to brand Namibian products through

uniquely identifiable traits and qualities and to control labelling and sales through “Namibian

only” markets or shops, where strict criteria could be applied.

• The brand and related labelling should be tightly controlled through e.g. Team Namibia or a

national council or board. The overseeing body must be made up from a cross-section of


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disciplines in Namibia to limit vested interest and provide for a more objective approach.

Clear identifiable criteria, with definite implications for non/adherence should be

administered, e.g. through participation or exclusion in exhibitions.

• Participation should not be made too easy, i.e. participation must meet quantity and quality

criteria, marketing strategy requirements, etc. when representing Namibia both locally and

abroad.

• Developing a Namibian identity is a costly process, but should be undertaken in partnership

with key role players in the domain, industry and government (e.g. MTI). Regulating labelling

is an even more costly exercise and extremely difficult to manage. Minimal requirements

should therefore be prescribed, e.g. with place of origin, indicated by law, on all products.

Recommendations

• A unique Namibian identity and offering should be developed

• Namibia as a niche country should be identified, described, protected and actively pursued,

also in its arts, crafts and designs. Standards, quality and uniqueness must out-perform

competition and “non-ethical products”, e.g. foreign products sold under the Namibian name.

• Namibians from all cultural groups should be involved in the identification and defining of the

Namibian identity.

• This identity and offering should be expanded to include regional and cultural uniqueness to

create identifiable, unique bonding experiences - especially while touring the country.

• Developing a unique Namibian identity should be combined with other Namibian branding

initiatives, e.g. in the tourism and conservancy industries, and will require buy-in from all role

players to coordinate and pull together to succeed.

• Uniquely Namibian should be a holistic experience created through multi-disciplinary synergies

• Synergies, through a multi-disciplinary approach, to create a total, uniquely Namibian

experience should be actively pursued. The market synergy and mix created will determine

the experience and the sustainability of the industry.

• The unique identity of experiencing Namibia should be developed into product offerings and

cultural experiences per site/region and should include arts, crafts and designs. Local role

players and tourists equally, should be informed and educated to understand the experience

and values displayed.

• There is a need for think tanks, involving skilled professionals, crafters, designers and artists

for the cross-fertilisation of ideas, to develop innovative Namibian designs and test the

application of a Namibian identity. These think tanks can be developed into a Namibian

Design House to create more consistency, and provide a platform for synergies amongst role

players and various disciplines. A proper strategy and policy for the development, phasing in

and functioning of such platforms should be worked out. Issues to be addressed should

include, for instance, individual vs. collective rights, copyright issues, etc.

• The unique Namibian identity should be made visible

• Local attitudes need to be researched and a pitch found to enter the local market and develop

pride in Namibian products.


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• Namibian national symbols and role models should display the Namibian identity and should

be targeted as entry point for building a Namibian identity. This is important in building

credibility and consistency of the Namibian identity.

• The Namibian identity in the arts, crafts and design domain should be combined with the

current national nation building campaign.

• The unique Namibian identity should be promoted through aggressive marketing, in which the

media should play an active role.

• A uniquely Namibian collection and catalogue should be developed from products associated

with quality and standards that meet set criteria.

• The unique Namibian identity should be protected

• Namibia should be correctly represented regionally, nationally and abroad through unique

Namibian designs that meet rigorously applied criteria, i.t.o. quality, identity, etc. The quality

of representation should attract markets and investments and establish the uniquely

Namibian identity as a recognisable offering.

• Unique Namibian products and the Namibian identity must be protected, promoted and

controlled through the application of criteria and mechanisms under the custodianship of

Team Namibia, a National Board and/and central hub.


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The Way Forward: Recommended Dynamics and Key Interventions

This section focuses on recommendations developed during the scoping study, through insights

gained and inputs received. It addresses a suggested positioning of the domain, taking into

consideration the various realities at play in the arts, crafts and design domain and in the country as

a whole.

• The premise for holistic-strategic synergy

The scoping study has demonstrated that much has been invested into the arts, crafts and design

domain through many initiatives and dedicated role players over decades. These efforts have

delivered sufficient capacity, networks and infrastructure to provide the basic starting points and

readiness for the domain to fulfil a more national-strategic role, as required within the national

context, and to address the most pressing need, i.e. for more synergy, cooperation and the

integrated, holistic positioning of the domain.

Such a positioning, however, hinges on the finely-tuned balancing of various realities and

dynamics at play in the domain in Namibia, e.g. on the one hand the social development role the

domain is actively involved in and on the other hand the pressing need for job creation and

improved income-generation within the national context. This represents almost two ends of a

continuum, i.e. grass roots production and community-based realities vs. commercial-capitalistic

economies based on and involved in global dynamics. This together with the role the domain

plays in defining and passage of a nation, presents a complexity that can only be addressed

through a multi-faceted approach, requiring the cooperation and synergy of many, if not all, the

role players in the domain. The picture should therefore be looked at in its totality and not as

separate components that can be sustained and function independently.

The recommendations require a paradigm shift, where role players go beyond their current

paradigms and mandates to create integrated effort and synergy in the interest of a bigger

whole, i.e. a dynamic national-strategic arts, crafts and design domain in Namibia. This will

require understanding of the concept, its intent and enthusiasm for the desired outcome, and

will only be achieved through aligning effort to accommodate and support the functioning of

needed platforms, the dedication of expertise and resources towards jointly run initiatives and

the establishing of minimum infrastructure to make this bigger whole a reality. Such effort

cannot be attained overnight, but should be phased in through dedicated effort and a clear

vision, based on pre-determined strategies developed in collaboration with all key stakeholders

in the domain. A long term view should therefore be maintained, with commitment to take the

needed steps today to progress towards the desired outcome.

The model presented in the next paragraphs suggest the new initiatives and/or platforms to be

undertaken to facilitate the development of synergies and a more streamlined integrated effort.

At no time does it attempt to provide a complete picture of the arts, crafts and design domain in

Namibia or clarify the roles to be fulfilled by any or all role players in the domain. Such a

mapping exercise might be needed when a strategy for the development of the domain is

undertaken, but this will be the mandate of another platform.


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The suggested model is based on balancing push and pull factors related to creating a healthy

dynamics between supply and demand, with the think tanks/Namibian design house representing

the pull or demand end of the equation and the central hub (supported by the regional hubs) the

push or support end. These two entities cannot function separately if a healthy domain is to be

achieved. The critical success factor would be to involve dynamic, go-getter people in these two

strategic platforms that are committed to the bigger whole, who has the competence to manage

such dynamics and work ethics that values the higher good above their own interest and mandate.

• Think Thanks and a Namibian Design House

The purpose is to create a platform(s) where creativity, innovation, branding and experiment-

tation with concepts and synergies can be explored and tested with the aim to create

benchmarks, synergies and potential for the development of arts, crafts and design and a

Namibian identity. More specifically the aim should be to:

o Create cross-fertilising and creative platforms with professionals from the domain;

o Identify (uniquely) Namibian raw materials and designs, and experiment re their application;

o Explore and package a unique Namibian identity;

o Experiment with arts, craft and designs to promote innovation and the testing of markets;

o Showcase multi-disciplinary displays and initiatives towards creating more holistic experiences

of Namibian products;

o Showcase unique quality Namibian arts, crafts and designs at strategic venues, e.g. foyers of

national buildings, Namibian airport shops, etc.;

o Maintain an inventory and databank on art, craft and design pieces displayed and relevant

diversified data re the piece and reaction to it, e.g. sale price achieved;

o Develop and provide links amongst designers, producers and buyers/markets;

o Set benchmarks re pricing for arts, craft and design offerings for the local and foreign markets;

Abroad

Advisory

Board/Council

Namibian

Design House

Regional

Trader/

Hub

Regional

Trader/

Hub

Regional

Trader/

Hub

Arts, Crafts and Design Space

Central Hub

Experiencing Namibian


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o Commission of (master) crafters, with relevant raw material specifications, to produce

products for specific buyers/target markets and/or to synergise products into unique designs

and displays;

o Link (marketable) products to advisory services for their further development and support

and/or to markets (in close collaboration with the central hub);

o Link stakeholders to establish value chains, e.g. raw material harvesters and/or experts with

product producers, industrial designers, marketers, etc.

o Package, commission and market the unique Namibia identity in national strategic locations,

amongst role models and the local corporate market;

o Facilitate heritage and indigenous knowledge protection, by documenting “stories” and

production processes, also with a view to populate such concepts;

o Build a product, raw material, producer and master crafter database and related catalogues

for the design domain in Namibia;

o Identify products viable for prototyping, facilitate testing (in collaboration with e.g. the

Polytechnic of Namibia, the Ministry of Mines and Energy and/or the Habitat Centre where

such facilities exist) and undertake basic concept design for (small-scale) mass production and

manufacturing;

o Create a platform for national debate (e.g. through discussion piece discussions) and the

(professional) development of art, craft and design critic(s);

o Generating income for the design domain through sales of commissioned work (to be

channelled through the central hub in a private-social partnership);

o Link viable initiatives to potential support, opportunities and start-up capital for further

development of concepts and/or production of products;

o Conduct and/or commission surveys and/or research relevant to products, target markets,

perceptions, etc. as a base for cutting edge designs, innovation, application and strategic

direction.

The starting point could be to bring experts from a cross-section of disciplines together in a think

tank to further explore the concept and come up with concrete suggestions on the way forward.

More informal ad hoc strategies could be implemented as start up initiatives for the phasing in of

a more permanently established design house with the capacity and mandate to fulfil all above-

mentioned functions.

The design house should be run on private sector principles, e.g. by creating a closed corporation,

and should be an independent body in the design domain, but with strong links to the central hub

and a social responsibility towards the development of the domain. The company’s constitution

should contain articles on the commitment to and structuring of the private-public partnership,

contribution ratios, strategies, etc.

It is suggested that established professionals, as individuals, take the initiative to form the first

think tanks to further explore the viability and development of the concept, and that start-up

capital be sourced, either locally or through venture-capital and/or donor assistance, for the

initial phases of the phasing in of the design house.

• A Central and Regional Hub(s)

Whereas the design house presents the cutting-edge demand side of the equation, the central

hub represents the supportive, social development side of the private-public partnership. The

hub is to fulfil the function of central link and support base for the design domain and its critical

role players. More specifically, the central hub will have the mandate to:

o Introduce and maintain product and raw material standards and its application re labelling,

exhibitions, trade fairs, etc.


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o Provide feedback and discussion platforms for the debate and critiquing of arts, crafts and

design products and/or offerings, in view of the development of standards and

professionalism in the domain, including the involvement and coaching of mass media re its

role and conduct;

o Ensure fair pricing and fair trade, and the development of a diversified database on sales,

pricing, etc. for reference and trend analysis;

o Provide for product warehousing and distribution to markets, both local and abroad, of

Namibian arts, crafts and designs, which includes the project management of supply and

demand, export administration and other related tasks;

o Position and market Namibian arts, crafts and design offerings locally, regionally and

internationally, including the professional packaging, curating and exhibitioning of such

products;

o Identify and protect artists’/producers’ copyright, Namibian heritage and indigenous

knowledge;

o Manage and monitor brand labels, including adherence to criteria set, for products

warehoused and/or distributed;

o Generate income for the domain to fund grass-root development, logistics, research, etc.

through income generated from sales, donor opportunities, etc.;

o Coordinate capacity building, mentoring and exposure interventions, including, amongst

others:

� The development and management of a capacity building, mentoring and grooming

system(s) for artists, crafters and producers; and

� Expert interventions through expatriate programmes, internships, master crafter under-

study programmes, creative workshops, etc.

o Coordinate and provide access to advisory structures and/or networks at viable rates for the

provision of basic services such as e.g. administration, finances, marketing, curating,

cataloguing, etc.

o Provide studio and design space and equipment and tools at reasonable rates;

o Develop and maintain a qualitative data and resource base on arts, crafts and design for the

domain;

o Create networking partnership and synergy opportunities and links;

o Facilitate the holistic-strategic positioning and development of the domain, including linking

with national initiatives and bringing macro and micro levels together;

o Promote the recognition, mapping and synergy of Namibian arts, crafts and design entities, in

an endeavour to build appreciation for the domain, promote value chains, value addition and

to the stimulate the industry;

o Organise platforms and interventions for the promotion and improved performance of the

domain, e.g. exhibitions, discussion platforms, the annual Design Summit, etc.

o Provide inputs towards the development and implementation of arts, crafts and design

policies in Namibia;

o Act as the linking pin of the design domain re sharing platforms, professional exchange, etc.

The starting point would be the establishment of the central hub to fulfil the most pressing

functions. Once the central hub is established, effective and self-sustainable, the concept can be

decentralised by forming regional hubs in the most critical areas across the country. A strategy

for the phasing in and self-sustainability of these hubs should be developed prior to

implementation so that support and contingency strategies can be fairly applied from the onset.

The central and regional hubs should be managed by dynamic individuals with business,

management and marketing expertise.


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The hubs should not be run on commercial private sector principles, but should have a social,

developmental focus. A trust might be best positioned to fulfil this function.

It is suggested that JMAC take custodianship for the set-up and functioning of the central and

regional hubs, to ensure that this initiative is implemented.

Cooperation with national and other initiatives, e.g. COSDECs, the National Arts Extension

Programme, Culture and Youth Officers, MTI, regional programmes, conservancies, etc. should be

explored re the setting up and functioning of these hubs.

• Regional Merchant/Trader

The intent is to establish one person that will be responsible for the coordination and regional

uptake of products produced at grass roots levels, as such individuals and/or communities

seldom have the means to sell their products outside their immediate environment. It would also

provide the opportunity to smaller scale community-based initiatives and NGOs to participate in

this offering, to smoothen logistics and supply and demand dynamics. This person will ensure the

quality of the products re marketability, fair pricing and payment in ways that would suite the

producer. The person should also play a role in facilitating the on-time delivery of raw materials

to the producer.

Initially this function should be provided by only one person. Once the viability of the strategy

has been established more people could be involved in the process.

A strategy for the phasing in of such a person should be developed and tested for viability and

impact, e.g. on product pricing.

The regional trader should not be involved in retailing directly, but should supply to the central

hub and/or established retailers.

As this function is integrally linked to the central and regional hubs, it is suggested that JMAC take

custodianship for the development of a terms of reference and the recruitment of such a person,

in conjunction with the establishment of the central hub. JMAC would, however, not be

responsible for the payment of such a trader as the position should be self-sustainable.

• A National Advisory Body

There is a need to have a small, recognised and credible advisory body that could serve as linking

pin for the domain; and be the custodian of the national-strategic positioning, regulating and

protection of the domain in and for Namibia. Functions to be performed include:

o Custodian of a policy framework for the domain;

o Custodian of a holistic strategy for the positioning and development of the domain;

o Facilitation of a conducive environment for the domain to optimally operate in, including

linking to national-strategic, political and leadership platforms;

o Custodian of domain-specific sharing platforms, including emporiums;

o Providing guidance re mapping of synergies and integrated effort amongst role players in the

domain;

o Custodian of professional standards and critiquing of art, craft and design in Namibia; and

o Custodian of the preservation of the domain, including the management and preservation of

intellectual capital, heritage, indigenous knowledge, storyboarding, product development and

process mapping, etc.

The body must be small, i.e. consist of no more than seven people. And should be neutral, i.e.

not made up of designers and producers only, but should be representative of a cross-section of

experts and disciplines from the domain. Membership of the body should be based on strict

criteria which would result in a professional, recognised and credible expert serving on the body.


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The most suitable format for such a body should be explored and possibly phased in. The most

viable option seems to be a small advisory board of key experts nominated through the annual

Design Summit and accountable to the domain through the annual Design Summit. Other

options that could also be explored is a National Arts, Crafts and Design Council or Board. These

options, criteria and membership should be discussed at the next Design Summit to establish the

way forward and the next steps to take.

• Arts, Crafts and Design Space

The previous bullets refer to role players that should be phased in to fulfil a coordinating role in

the domain. There is, however, also a need to create specific, dedicated space to the artists,

designers and producers for them to function more optimally. This involves:

o providing physical space for the public production of products/performances and the direct

marketing and sale of products on site;

o providing opportunities and platforms for the cross-fertilisation of ideas, mutual support and

inspiration, and the exploration and development of synergies;

o the availing of tools and equipment for the production of quality products and/or value

addition;

o the possible elaboration into basic, simplistic manufacturing processes for small scale mass

production.

The positioning of such a space is critical and needs to be an integral and vibrant part of a

business-centre to ensure accessibility, exposure and markets.

Models for cost-recovery should be explored, e.g. a small mark-up on the products sold, a market

entry fee and/or a general hotel tax to be paid into a central fund from which running costs are

covered and artists/producers reimbursed.

The possibility that it be ultimately run and/or owned by the crafters/producers themselves could

be explored, but is not necessarily a priority for now. A basic exit and sustainability strategy

should be developed per site, with craft-makers remaining stakeholders throughout the process,

to cater for specific conditions and needs.

JMAC offered to act as custodian for the setting up of such a space in Windhoek. The application

in other centres across the country needs to be further explored and relevant strategies

developed.

MTI and other Namibian institutions should be involved in start-up and core funding to ensure

that it the space is Namibia-owned.

• Experiencing Namibia

To develop the concept of an arts, crafts and design space further into a total experience, the

concept of a cultural village and/or Namibian market or mall should be further developed. The

aim is to create a vibrant experience of art, craft and design as lived by the people and/or as a

vital aspect of the country. To create such a total experience, a multi-disciplinary approach is

needed through the cooperation and integration of a mix of dynamics. These could include,

amongst others, the performing arts, storytelling, music, dance, poetry, culinary and other

services, exposure to nature, the structure and layout of the site, city planning, etc.

This vital aspect of the development of the domain must be given more consideration and should

be phased in once the arts, crafts and design space and Namibian design house have been

established and should be a collaborative effort amongst various stakeholders in the design

domain, Namibian industry and local authorities.


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Recommendations addressing Critical Needs

The previous section looked at the establishment and phasing in of permanent infrastructure that is

needed to streamline the functioning of the domain, and improve its long-term positioning and

performance. This section focuses on platforms and short to medium term projects to be

introduced to facilitate the strategic development and/or repositioning of the domain, and the

achievement of recommendations described in previous sections in the report.

A brief overview of possible projects to be undertaken, together with suggested role players and

custodians, is provided below. The danger is, however, that these projects are seen as initiatives on

their own and not undertaken in the spirit in which they were identified, i.e. as an integral part of

the strategy to develop and repositioning the arts, crafts and design domain in Namibia through

integrated effort and synergies. It is therefore vital that an institution come to the fore to act as

custodian of the initiative, but that such a role player commit themselves to pursue the initiative

through active cooperation and integration with all role players involved and the domain as a whole,

to achieve the outcome as envisaged. Without such a commitment, the initiatives will become just

another project and lose their vitality and impact, and thereby die a natural death. A project is only

of value if it forms an integral part and contributes significantly to the creation of a bigger whole.

• Annual Design Summit

There is a need to create a platform where all stakeholders in the arts, crafts and design domain

in Namibia can meet annually to:

o improve cooperation and synergy in the domain;

o establish and strengthen value chains and smart partnerships;

o provide opportunities for integrated planning and the development of a strategy for the

domain;

o address policy issues, domain standards and the application and maintenance of such;

o provide a benchmark for the domain and sustain its development;

o provide a professional platform for interaction, cross-fertilisation and learning; and

o provide a platform for the discussion, promotion and protection of a unique Namibian identity

and truly Namibian products.

Stakeholders should include, but not be limited to, arts and crafts producers; fashion, jewellery

and interior designers; producers and small to large scale industries; entrepreneurs; graphic

designers; educational institutions such as UNAM, Polytechnic, College of the Arts; visual artists,

the tourism industry; photographers and architects; representatives from Team Namibia and

Naturally Namibian; and various Government and Non-Governmental Institutions.

The Design Summit should be hosted through the central hub.

• Discussion Forums

There is a need to create more public debate to strengthen appreciation for the domain and to

obtain inputs re critical aspects to be addressed. Such platforms will ensure that the domain is

kept on the national agenda and form a vital part of Namibian discourse. Currently such fora are

needed to discuss:

o What makes you truly Namibian? and: What is truly Namibian? These debates should be

hosted at the COTA and University campuses, as it provides an ideal premise that is easily

reachable, representative of the whole nation and has a vibrant atmosphere. The debate can

then also be extended to the nation through a radio talk show.


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o Academic discourse on the role of culture in contemporary Namibia and its development e.g.

through rituals’ role in the rites of passage, the moral fiber of society and education. The

outcomes of such a discourse should also feed into the national nation building campaign.

It is suggested that the NACN act as custodian of these forums, which could be outsourced to

independent service providers and/or other role players in the domain for the actual logistics and

liaisons.

• Indigenous Knowledge Discovery and Expression Programme

The purpose of the programme is to rediscover the rich indigenous heritage in Namibia, to build

national pride and identity in/through local offerings and to explore ways in which it can be

expressed in arts, crafts and designs towards increased income-generation within communities.

It is also aimed at talent and niche identification, i.e. luring designers, producers and artists “out

of their corners”, and grooming crafters, networks and products for industry.

The programme is quite extensive and should be well-thought through to be managed well

throughout the implementation process, otherwise it could easily fizzle out or become

insustainable. Some phases could run concurrently and not all role players have to be involved in

all processes. Consistency needs to be maintained, however, to ensure impact. The programme

lends itself to annual events and programmes.

This programme is vital to the addressing of the recommendations and achievement of the

desired outcomes as described in this report.

o Phase 1: recognising heritage and culture and discovering and appreciating identity through

facilitated interventions.

The outcome should be a deep-rooted understanding of our national heritage and the re-

defining and discovery of the self providing the premise for a good self-esteem.

Inputs to the national nation building campaign should be made at the end of these initiatives.

Possible resource persons: Ms Lesle Jansen from the Legal Assistance Centre who has

extensive experience in running such programmes and Gunther Maartens from Peaceful Living

Namibia.

Identification of communities to be involved in the programme could possibly be done in

consultation with traditional authorities, regional structures and/or arts, crafts and design

communities.

o Phase 2: expressing cultural heritage and unique Namibian identity in art, craft and design,

both traditional and contemporary. This phase should include storyboarding and

documenting of indigenous knowledge, heritage and uniquely Namibian identity, and should

explore the concepts of what sacrilegious application and/or exploitation of heritage and/or

community rights are, so as to prevent such practices in Namibia.

The outcome should be unique community-based products representing the unique Namibian

identity and/or offering.

Possible resource persons: Ricky Khaxab, Beth Terry, Karin le Roux, Annie Symonds, Liezl

Louw, and others (to be further explored).

There should be consistency in participation from phase 1 into phase 2, although phase 2

could be a smaller group of participants, focusing on the artists, crafters and designers from

within the communities involved in phase 1.

o Phase 3: exploration of income-generation opportunities through the art, craft and design

offerings developed in phase 2. This phase should include the basics of design, design concept

drafting and documentation, product improvement and value addition. The concept of one

community, one product, once market could be pursued during this phase to make the project


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manageable and to provide for internal competition and dynamics within the country, and

would lay the foundation for value chains which would impact sustainability tremendously.

The outcome of this phase should be community-based marketable products (developed and

linked to a specific target market).


Louw, and others (to be further explored).

There should be consistency in participation from phase 2 into phase 3.

o Phase 4: packaging, curating and marketing skills development.

The outcome of this phase should be market-ready products (developed and linked to a

specific target market).


Louw, Kirsten Wechslberger and others (to be further explored).

There should be consistency in participation from phase 3 into phase 4.

o Phase 5: village sales, cultural festival(s), cross-fertilising workshops, exhibitions, road shows,

including a “Nation Building: Namibia has got design talent”-show, involving the products

developed through phases 1 to 4 and allowing for independent participation, with the finale

combined with e.g. Independence celebrations or another national heritage festival(s). This

phase should including professional critiquing of product offerings against professional

standards and set criteria and the education of the media in media coverage of arts, crafts and

design, leading into mass media coverage. Community-based rewards for criteria met and

achievements awards for best offerings in various categories should form a critical part of this

phase.

Possible custodian: NACN, in conjunction with MTI.

The nation as a whole should be mobilised and involved in the celebration of Namibian arts,

crafts and designs.

o Phase 6: population of successes and preservation of national heritage and indigenous

knowledge through product development storyboarding and documentation, master craft

training programmes and exchange visits within the country.

The outcome of this phase should be the cross-fertilisation of ideas and best practices, the

further development of master crafters, and the population of good ideas and national

heritage and indigenous knowledge amongst product developers and communities.

Possible custodian and resource persons: NACN, in conjunction with MTI and master crafters,

e.g. Ricky Khaxab, Beth Terry, Karin le Roux, Annie Symonds, Liezl Louw, and others (to be

further explored).

Participation in this phase should be focused the product experts of the success stories from

the previous phases.

o Phase 7: prototyping, product testing, value addition and small-scale manufacturing of

designed products.

The outcome of this phase should be the identification, initial testing and prototyping of

products viable for further development and small-scale manufacturing.

Possible custodian and resource persons: MTI in conjunction with Sean Mitchell.

Participation should be the master crafters and industry players involved in identified

products and the further development of the concepts, e.g. the testing centres at Polytechnic

MME and Habitat Centre, where applicable.

o Phase 8: mobilising structures, resources, networks for product production and the

exploration of markets.


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The outcome of the phase should be the small to medium scale production of specific product

offerings for specific target markets as an entry point into the stimulation and development of

a local industry.

Possible custodian and resource persons: MTI in conjunction with industry/producers and the

central hub/JMAC.

Participation should be the relevant producers and industry players involved in production or

manufacturing and marketing of the identified products.

o Phase 9: national and inter-national recognition events and publicity campaign, including

awards for product of the year, master crafter of the year, marketer of the year, Namibian

design supporter/organisation of the year, etc.

The outcome of the phase should be the formal, national and international recognition of

successes achieved.

This should become an annual event.

Possible custodian and resource persons: MTI in conjunction the central hub/JMAC.

o Phase 10: follow-through programmes e.g. story-telling, leading into annual events, e.g.

� product development workshops with industry experts/master crafters

� the Namibian Arts, Crafts and Design Festival, spanning one week and involving the nation,

and representative sections of the nation specifically, in such a national celebration of arts,

crafts and designs and Namibia as a nation with a unique identity;

� a design expo representing the 13 indigenous tribes/11 ethnic groups and/or uniquely

Namibian designs.

The outcome should be celebration of Namibia and its unique heritage and offering.

Possible custodian: NACN, in collaboration with the central hub/JMAC

Rewards should form an integral part, at every phase of the process and should be linked to the

outputs required, e.g. in phases 2, 3, 4 and 7 tools and/or material could be awarded to

communities and/or producers meeting criteria and producing innovative designs/products.

A substantive qualitative database should be built up and updated during each phase of the

programme, as the different phases provide excellent opportunities for the developing of a

substantive database on arts, crafts and design in Namibia.

The ultimate custodian of the programme should be NACN, in collaboration with the Design

House, who could sub-contract a service provider for the coordination and management of the

programme.

Further links and synergies should be explored with, amongst others, the Directorates of Arts and

Culture (Mr Andre Strauss), UNESCO/Spanish Cultural Village Project and the National Arts

Extension Programme (who has 79 art facilitators in the field).

The scope and scale of the programme should be considered in terms of resources available and

could be run over a period of two to three years to spread resources more evenly, give proper

time for the maturing of each phase and involve more communities in second and third rollout

initiatives.

• Appreciating Namibian Products - Road Show

The idea is to take Namibian art, craft and design discussion pieces in a road show under guided

facilitation to schools and early childhood development facilities across the nation. The purpose

would be to raise levels of awareness and develop more substantive appreciation for art, crafts

and design in Namibia. The programme should basically consist of:


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o Buying of art, craft and design pieces from local artists;

o Training of local facilitators on guided evaluation and appreciation of the product/piece;

o Taking of art, craft and design pieces on a road show to schools and early childhood

development centres across the country;

o Facilitated, guided discussion, critical analysis and market/target analysis based on principles

and techniques provided during training (refer bullet 2), linked to small competitions, e.g. a

chocolate for closest correct response to the question “How long do you think it took to

complete the art work?” “What do you think this piece is worth in monetary terms and

why?”, etc. in schools and early childhood development centres across the nation;

o Art, craft and design pieces donated to schools and early childhood development centres as

point of reference and for further instruction.

This initiative could be combined with an art bus as travelling workshop and/or with children’s

craft markets, leading into an annual awards event, to stimulate participation in arts, crafts and

design at school level.

Possible custodianship and funding: NACN

Possible resource persons: Cathy McRoberts (to be further explored and consolidated)

Possible link with National Arts Extension Programme (who has 79 art facilitators in the field),

supported by extensive capacity building interventions to ensure quality delivery of the

programme towards the intended outcomes.

The scope and scale of the programme should be determined in view of the resources available.

• Exhibitions

Exhibitions have great potential in displaying Namibian arts, crafts and design, as a critiquing and

benchmarking platform and to enter the domain into national discourse, if such exhibitions are

managed well and strategically positioned, also i.t.o. invited guests. Two kinds of exhibitions are

mentioned, that would be of great stimulus to the development of the domain, i.e.:

o Thematic exhibitions assisting innovation, functionality and bread and butter lines, e.g.

challenging young artists, designers and producers to look at needs not met by Western

design; and

o Namibia art, craft and design conversation piece exhibitions e.g. at UNAM campus and/or

television programmes and/or the Flamingo.

Possible custodian could be the Namibian Design House.

• Study tour

A study tour by a core group of key role players in the domain to Cape Town (DTI/CCDI – Frieda

Lull) and the RSA Arts and Crafts Council could be of great benefit to the domain. Possible

sources of funding should be explored and could be coordinated through the Design Summit to

be held in September 2011.


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Novel Ideas

A few novel ideas were mentioned during interviews, that could be further explored, e.g.

• To tap into the Namibian lottery for resourcing of the domain and/or industry. The concept and

its implications can be a discussion item under resourcing the design domain at the Namibian

Design Summit;

• To approach businesses to sponsor an enterprise or Namibian designer e.g. through the incubator

centre, in the “adopt a small business/Namibian product”-project. A possible custodian of this

initiative could be the Design House.

• The Tulipamwe-principle should be encouraged and supported, based on and due to the positive

results and feedback received. National players in the arts, crafts and design domain should look

into resourcing this initiative on a more sustainable basis.


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Conclusion

The Namibian arts, crafts and design domain can be proud of the many achievements attained to

date. These initiatives and efforts have delivered the cornerstones for a performing, dynamic

domain. Resultant from these investments Namibia today has sufficient resources available to

develop a vibrant domain that can fulfill a national-strategic role in Namibia. These resources

include financial resources, mandates, institutions, infrastructure, expertise and artists, crafters and

producers. If all these resources are put together, especially in a nation consisting of under two

million people, it would be inspiring, yet challenging, to calculate what could be achieved.

The major challenge the domain is faced with is to optimize the resources available through

integrated and synergized mechanisms and effort. Inter-dependence is a mindset more than

anything else and requires operating across boundaries, mandates and responsibilities to do what

needs to be done in a vibrant ethical manner in the interest of a bigger whole. The synergy required

in Namibia also refers to the finely tuned balancing of the many realities and dynamics relevant to

the country, and to create a domain in which supply and demand and push and pull factors are

managed in a national-strategic holistic whole. This model provides for a place in the sun for

everyone, where people do not need to live with barriers amongst them, but rather dedicate

themselves to the ultimate outcome which would mean a better future for all within their own

context.

In an endeavour like this the power of “one” should never be under-estimated. All achievement

through all ages is based on the effort, dedication and vision of the individual who committed

themselves to a cause. The repositioning of the Namibian arts, crafts and design domain presents a

quantum leap for the domain, and will require new paradigms and ways of living and doing business

for many. Change is always a process that takes years to mature. It requires getting the basics right,

taking baby steps every day in a well-thought through strategy and needs drivers and champions to

keep the faith and carry the torch.

In this regard it might be wise to conclude with two thoughts, i.e. that the paradigms that created

the status quo will not take the cause to the next higher level and that the world is not changed by

realists, but by idealists – people who dared to dream and committed themselves to seeing the

dream realized.

May the next generation of artist, crafters and producers – and Namibia as a nation – see new and

broad horizons because they are standing on the shoulders of those who have gone before them.

And may the journey we are about to embark on be worth our hearts, minds and effort.


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Bibliography

A Study of Craft Production and Marketing in the Four O’s Region by Jan Lee and Elizabeth Terry

through Northern Namibia Environmental Project, Ministry of Environment and Tourism, undated.

A Survey of Natural Resource Based Craft Production and Marketing in Namibia by ME Terry, FJ Lee

and K le Roux for WWF Life Programme and The Rössing Foundation, October 1994

Crafty Women: The livelihood impact of craft income in Caprivi by Carol Murphy and Helen Suich,

DEA Research Discussion Paper

Developing the Namibian Craft Sector: The Rössing Foundation Experience, 1991-2004, by Karin le

Roux

Enterprise: Mashi Crafts Caprivi

Namibia’s Communal Conservancies: a review of progress and challenges in 2009

Rural Art in Namibia, produced in conjunction with the exhibition, “Rural Art in Namibia” held in

Norway and Denmark in 1993, funded by IBIS (WUS Denmark), NORAD and The Rössing Foundation

Project, Coordinator Karin le Roux


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Interviews conducted during the JMAC Scoping Study (54 Interviews)

Thursday, 14/4 10:15 Annie Symonds Freelance 081-239 8829 [email protected]

Monday, 18/4 08:30 Retha-Louise Hofmeyer

Gretta Casper

Mr Mutota

Mr Amunkete

Directorate of Arts, Ministry of Education 293 3052

Monday, 9/5 09:00 Sonja Noirfalise Godwana Collection, Namibia 230 066 / 081-319 2858 [email protected]

14:15 Dr Andreas Wienecke Habitat Research & Development

Centre

268 200

Tuesday, 10/5 10:00 Saar Maritz Freelance 081-295 7990 [email protected]

14:15 Lucia Radovanovic

Mr Kapanda

Ministry of Trade & Industry 283 7356 / 081- 129 3828 [email protected]

Wednesday, 11/5 12:00 Wolgang Ramdohr Ibenstein 081-258 6820 [email protected]

14:00 Anita Steyn Karibib Potter’s Association 081-127 1531 [email protected]

Thursday, 12/5 13:30 Attila Giersch

Pambili Young Designers 307 424 / 081-261 4695 [email protected]

[email protected]

Friday, 13/5 09:00 Suzanna Asmus NCC 081-283 6530

Saturday, 14/5 17:00 Frederika Luanda Ohandje Baskets Cooperative 081-253 9470 [email protected]

Tuesday, 17/5 14:15 Anna Hango NCC Entrepreneur 081-124 4781

Wednesday 18/5 08:00 Inger Thataone

Martha Shigwedha

Penduka 257 210 [email protected]

[email protected]

15:15 Arnold Kumundu Small Miners Asso 081-321 1709 [email protected]

Thursday, 19/5 09:30 Tony Figueira Photographer’s Guild 252 800 / 081-124 6792 [email protected]

11:00 Theo Handura National Arts Council of Namibia 307 451 /081-346 2582 [email protected]

Friday, 20/5 08:00 Peter Kewowo Visual Arts, Namibia & Arterial Network 081-338 3070 [email protected]

14:30 Hercules Viljoen UNAM, Visual Arts 206 3184 [email protected]

Monday, 23/5 08:30 Karin le Roux Omba Gallery 081-128 1321 / 242 799 [email protected]

11:00 Dagmar Honsbein

Zoey Gaseb

Polytechnic, Innovation Centre 207 2885/ 081-149 1086 [email protected]

15:00 Ricky Khaxab NCC: The Peace Collection 081-406 2015 / 247 991 [email protected]


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Tuesday, 24/5 09:00 Annaleen Eins JMAC 081-129 3008 [email protected]

15:30 Joseph Madisia National Art Gallery 231 160 / 231 391 [email protected]

Thursday, 25/5 08:30 Jennifer Ghatsi CRIAA 220 117 [email protected]

11:00 Beth Terry 226 231 / 081-237 5562 [email protected]

12:30 Hennie Verwey NIMT 081-127 3972

14:00 Cynthia Schimming

Beata Hamalua

COTA 081-124 7131

081-659 1292

[email protected]

[email protected]

15:30 Stephan Eins Camel Studios 081-604 3963

Friday, 26/5 10:30 Shareen Thude NCC 242 222 / 081 124 0982 [email protected]

Monday, 30/5 10:00 Junius Hamalua Kalahari Wild Silk 062-569 111 [email protected] / [email protected]

15:15 Tatjana Will Team Namibia 307 247 [email protected]

Tuesday, 31/5 10:00 Lucky Peterson KCAC 081-280 2501 [email protected]

14:15 Christian Toelg Business Innovation Centre 207 2881 / 081 482 0704

16:00 Caren Kehrmann Ikhoba 226 710 / 081-124 9719 [email protected]

Wednesday, 1/6 08:00 Gunther Maartens DRFN / Peaceful Living, Namibia 081-360 3400

10:00 Ina Cramer 062-561 424 / 081-149 2350 [email protected]

[email protected]

14:30 Olga Katjiuongua Previous MET/NACOBTA 280 7125 / 081-124 2199 [email protected]

Friday, 3/6 09:00 Peter Schreck MME 284 8317

11:00 Karine Nuulimba RDNC 228 506 [email protected]

14:00 Sam Shikongo MET 284 2178 / 081-129 5109

Monday, 6/6 13:00 Maxi Louis NACSO 230 888 [email protected]

15:15 Wilma de Wet Namibia Country Lodges 374 750 / 374 777 [email protected]

Tuesday, 7/6 08:30 Nicky Marais KCAC 081-273 5044

10:30 Peik Bruhns Southern Africa Innovation Support

Programme (SAIS)

081-124 3747 [email protected]

14:00 Liezl Louw

Leon Barnard

Beyond Design

Leon Barnard Architects

081-122 2115

401 090

[email protected]

Wednesday, 8/6 08:00 Cathy McRoberts COTA 235 750 / 081-218 1923 [email protected]

15:00 Pauline Sarrazin FNCC 387 333 [email protected]

Thursday, 9/6 10:00 Sean Mitchell 081-603 3284 [email protected]


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08:30 Zurelia Steenkamp Windhoek Municipality 290 2284 [email protected]

12:00 Katarina Verkuhsa Karas Huisen Crafts 081-336 6101 [email protected]

Friday, 10/6 08:15 Gillian Maggs-Kolling MAWF 208 7327 / 081-332 3576

11:00 Abraham Reinhardt Rent-a-Drum 244 097 / 081-127 2298 [email protected]

13:00 Pappa Shikongeni JMAC 081-244 5341

Thursday, 16/6 11:00 Chris Weaver Worldwide Fund 239 945 [email protected]


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DESIGN DOMAIN SCOPING AND STRATEGY CLARIFICATION

(May 2011)

CONCEPT QUESTIONS

SCOPING THE STATUS OF THE DESIGN DOMAIN

• What is the design domain in Namibia?

o Scope, status and synergy

• What is currently in place?

o Process flow – strengths / areas for development / critical needs?

o Infrastructure – availability & needs

o Support structures – availability & status (e.g. LAs, exhibition space)

o Interventions/successes (what worked & why?)

o What did not work (lessons learnt)?

o What are critical needs?

BRANDING NAMIBIA

• What is Namibian Products?

o What is Namibian? - traditional and contemporary

o What is Namibian Products?

o What are under-utilised options/sources?

• Copyright / patent rights

o African Indigenous Knowledge Systems

MARKETABILITY ISSUES

• Supply/sustainability and quality issues

o Process flow, i.e. raw materials (supplies, regulations, licensing, environmental factors, etc.), production,

manufacturing, retailing

o Capacity building

o Expectations for minimum design qualification?

o Import / export, e.g. taxes, procedures, quantity restrictions, pricing, etc.

o Marketing, infrastructure, outlets, etc.

• Building appreciative audiences

• Standard/accreditation issues

Documents

FI NDINGS REPORT - UNESCO...• The need for a holistic-strategic strategy and positioning of the Arts, Crafts and Design Domain in Namibia Pambili Association was registered during