National Arts Council: A manipulative ploy for patronage!

This article is issued in the spirit of fairness and a broader notion of social justice in the arts, although it may seem an ideal that is hard to achieve in Botswana.

Being an initiate of Augusto Boal’s Popular Theatre of the Oppressed and as a student of Paulo Freire’s literacy programme, and having worked alongside one of Africa’s Popular Theatre Gurus; the late ideological Ngugi Wa Merii, I write to argue that fairness is a dynamic category that has to be continuously re- negotiated.

As in the words of the Fair Arts Almanac: “fairness is constantly in a precarious state if we don’t care for it as an ongoing practice. Fairness cannot be reached by structural changes alone. As it is based on mutual trust, it has to be in constant public discussion - aware and woke to current economic, social, and political developments. The revolution has to be continuous.”

In light of this afore- statement, I am thus of the strongest conviction that to perform its role in society, the arts sector needs to be aware of the injustices it reluctantly participates in or helps perpetuate and must develop strategies to avoid and counterbalance this tendency.

The deliberation of this article points to the crucial factors of National Arts Council of Botswana ( NACB) and its funding mechanisms, all of which were supposed to contribute to more equity in the; cultural promotions, capacity building, entertainment, competitions and awards ceremonies, and literary works.

The National Arts Council of Botswana is a State Arts Agency that is officially designated and financially supported by the State to provide incentive grants designed to assist arts development in Botswana. Yet already, its funding and programming decisions are not made on criteria that take fairness and excellence into account, at least in my experience.

My views about the NACB are influenced by my recent interaction with the institution as I happen to be one of the arts and culture workers who did apply for the September 2023 arts and culture grant for a book production and publication titled: “African Proverbs for Youth Character Building and Moral Education.”

The aim to produce the book is meant to make a claim of our African philosophy ( wise sayings) which will serve to offer guidance to children and youth in today’s wild world of wickedness and bastardisation of the African family mainly because they are a peoples’ cultural memory and they also teach about morals and character. The book will be written in eight ( 8) local languages and translated in English for purposes of universal access.

As a cultural development practitioner, I had taken the launching of NACB to be a decisive step by the Government towards the promotion of cultural industries in the context of broadening public access to the arts and reducing barriers to cultural participation.

But my presupposition has come to be proven wrong. Despite being a newly- established entity, the NACB has already failed to demonstrate their ability to deliver value to the artists despite the fact that Botswana artists have shown amplified interest in the agency towards refinement of their artistic talents.

In my exploration and observation of the processes and procedures of the NACB, I have to come to realise that it is an agency that is structured more than by formal rationallegal institution, but is also characterised by vertical patronage networks that function through hierarchical dyadic relationships between “personal authorities with power” and their political support network. It is an organ marked by inequalities, structural imbalances, complex power relations and influences.

The goal of the NACB appears to be emerging more with the issue of neo- patrimonial decorative. The institution has to do less with genuine funding support towards more fairness, more flexibility and more inclusiveness for the betterment of Botswana’s cultural heritage and artistic creations.

Its support does not provide fair access to arts resources, especially among underserved populations. To me NACB is placed as a structural incentive to engage in kleptocratic activity that takes public funds and uses them as ‘ excludable’ and ‘ rival’ goods.

In my attempt to make an appeal on my proposal which has been rejected on “shallow, fabricated excuses”, I have noticed that there are no precise and transparent assessment criteria by the NACB to understand on what basis applications were assessed.

Although having its own board and management structure, there is no well- defined decisionmaking processes, including who gets to make the decision, how and why decision- makers are chosen and how they end up making their decisions on the feedback about proposals.

The feedback mechanism meant to provide clear, informed, personalised and respectful information for all applicants – including ones that were rejected – to make sure that artists and art workers can learn and or appeal from the process is questionable and suspect.

I have been sent from pillar to post like a “ping – pong” ball in appealing my rejected proposal. I have been told to register my appeal with the Chief Executive Officer of NACB, who happens to be the one who signed the letter of rejection to my proposal. This is a clear deficit and crisis of ethical leadership, responsibility and accountability in the NACB administration. It is utter mockery of the public service mantra of “Mindset Change” and “Re- set Agenda”.

I have come to discover that instead of providing an environment that promotes arts and culture growth and human development through a funding structure that is guided by inclusiveness and that promotes and reinforces the notion of fairness, the Arts Council staff has placed greater focus on diverting public revenue to a select group of constituents.

I am deeply aware that many if not all of those whose proposals have received funding depended on how close they are to the “centres of state power.” This shows how unequal and disbalanced the NACB is and how it is also actively contributing to further isolation and ghettoization of certain art workers.

The weak administrat ion by NACB disproportionately hurts Botswana artists and damages the cultural sector’s ability to provide jobs, goods and services to communities. This exclusion not only hurts the artists and their prospects of human development, but also reinforces the existing hierarchies on the society at large.

Using institutions such as the National Arts Council as an incentive for selfish predatory behaviour among those in power at the expense of the masses is unjust, irresponsible and has a serious negative consequence as regards the need to transform the abundance of talent and cultural assets of Botswana into thriving creative industries.

This bad, unjust and unethical beginning by the NACB serves to distort the intent purpose of supporting arts and culture creatives.

The NACB is not able to recognise that grants are not a handout; they are a hand- up. Arts grants are the means through which a country can build a robust, self- sustaining creative ecosystem that benefits not only artists but society as a whole. Artists, like all other human beings, want justice, equity, transparency, responsibility and accountability.

They want respect and human dignity. They want a decent life and an opportunity to feed, shelter and clothe their families. International research repeatedly shows that artistic work is burdened by precarity and insecurity, often leading to poor living, hence when we speak about arts and culture commodities and their communities it is important to be concerned about justice.

I seriously doubt if the NACB will accurately assess the country’s cultural needs and assets, then organise efforts to help the state achieve goals that are relevant to its policy priorities. The current arts council cannot reduce barriers to public participation in the arts, such as those linked to poverty, geographic isolation, limited education, lack of information, disability, age or ethnicity.

Precisely because to the NACB grants are merely financial transactions, not investments in the human spirit. The NACB cannot understand that in the creative sector, grants provide the muchneeded oxygen for innovation to flourish. They serve as catalysts for experimentation and risktaking, allowing artists and cultural institutions to push boundaries and challenge conventions.

A true, fair, flexible and inclusive funding support requires understanding the context in which the artist or art worker is acting. It requires a deep understanding of artistic processes and the conditions of work and life of the artists, as well as the audiences and communities they address. It also necessitates insight into the specific situation, artistic or organisational evolution, even life experiences of the applying artist or art worker.

A true, fair, flexible and inclusive funding is also one that seeks to achieve objectivity outside of the political agendas or even political pressures. Arts and Culture development requires building and continuously reaffirming funding structures as safe spaces, rather than tools for short- term political priorities.

It also requires putting additional efforts in building trust in institutions where this trust is lacking; eradicating nepotism and opacity in decision making processes and resisting untransparent lobbying; paying attention to the equal treatment of all potential beneficiaries to prevent any kind of inherent bias or what is called the system of random choice or lottery.

All in all, fair arts funding systems can only stem from a broader agreement in society on the value of arts and artistic work. When arts, artists and artistic work are truly accepted as being of value to society, this acceptance can lead to treating artists with care and respect: acknowledging the amount of work required; the experimental nature of the practice that they develop and their specific needs.

The presence of a National Arts Council must as a State arts agency ensure that all communities — regardless of their geographic location, political affiliation or economic status— are systematically and equitably served. An arts council proper needs to be positioned to provide strategic and equitable leadership and support to all areas of the arts fraternity.

The agency must demonstrate leadership in providing public access to the arts and arts education as well as addressing the needs of underserved communities. It must invest in grants that nurture our talents, celebrate our diversity, and elevate our voices so as to ensure that Africa’s cultural renaissance shines brilliantly on the global stage.

In a fair, flexible and inclusive funding, arts grants enable the birth of new narratives, new sounds, and new visions that reflect the evolving world experience. That is the type of democracy and development most artists are striving for, not the one characterised by opportunism, personal advancement, enrichment, personal glorification and self- serving propaganda!

Yet in contrast, the NACB does not function like a state agency that possesses specialised expertise related to creative business development and cultural planning for sound stewardship of resources. Their competence, integrity, vision, commitment, and skills leave much to be desired in making the economic, educational and civic benefits of the arts available to all communities.

I doubt if the agency has a comprehensive statewide plan for the arts that includes input from the public and is responsive to the needs of the artists. The current NACB in my opinion has been set up to act as a mere manipulative ploy that is masking the “hidden” patronage networks to expand opportunities for kleptocratic behaviour and private benefit as well as to influence the societal norms of who can participate in arts!

The U. S. Embassy United States Agency for Global Media ( USAGM) in Selebi- Phikwe is seeking eligible and qualified applicants for the following positions:

1.

Assistant Plant Supervisor; FSN- 10; Gaborone- 2024- 003 ( P428,441

Starting salary per year + benefits)

Duties: The position works at the Botswana Transmitter Plant which is a high- power broadcasting transmitting facility that forms part of the United States Agency for Global Media ( USAGM)’ s worldwide communications system. This is an LE Staff Transmitter Plant Supervisory position. The position assists in all phases of management and supervisory functions involved in the operation and maintenance of the transmitter plant associated system. Incumbent plans and implements long range routine maintenance, provides significant input to the development of maintenance procedures, and gives orders, reports directly to the USAGM Station Manager, and supervises six ( 6) Technician positions ( 4 Supervisory Radio Technicians and 2 Advanced Radio Technicians).

Qualifications and Evaluations

Education: Bachelor of Electrical and Electronic Engineering, Combined Bachelor of Engineering ( B- Eng Major), Bachelor of Engineering ( B- Eng Minor) required.

Requirements:

EXPERIENCE: Minimum of 5 years’ experience working with Transmitters; and experience in the operation and maintenance of a high- power multi- transmitter broadcast facility is required. 1 year in a supervisory capacity is required.

JOB KNOWLEDGE: Host country safety regulations & procedures is required.

Evaluations:

LANGUAGE: Level IV English and Setswana ( Fluent) speaking/ reading/ writing is required.

SKILLS AND ABILITIES: Incumbent must have thorough knowledge of electronics theory and principles, specifically as applied to high power multi- program broadcasting. Must have theoretical knowledge of the design, construction, operation, and performance characteristics of all plant equipment as well as modem measuring instruments and devices. An understanding of general administrative procedures pertinent to plant administration an operation is also required. Basic knowledge to operate firefighting equipment - fire extinguishers, water hydrant required. Must have a valid Class B Driver’s license of at least five years. Must be familiar with Microsoft Office programs ( MS Excel, MS Word, MS Outlook). Must have keyboard/ typing skills where accuracy is required. “This may be tested.”

2.

Chauffeur/ Purchasing Clerk; FSN- 04; Gaborone- 2024- 004 ( P133,141 Starting salary per year + benefits)

Duties: The incumbent serves as chauffeur/ purchasing clerk and is required to drive relay station personnel on frequent trips within Botswana and neighboring countries. Performs purchasing agent and clerical tasks at the USAGM. Incumbent is required to drive visiting high ranking officials from the Agency on occasion for Embassy officials. Required to pick up and deliver local mail, pouch, requisitioned supplies and important documents in Botswana and neighboring countries. Completes daily trip tickets. Is capable of performing minor mechanical repairs should vehicle experience problems on long trips.

Qualifications and Evaluations EDUCATION: Completion of Senior Secondary school.

Requirements:

EXPERIENCE: Three years of professional driving and one year or more of experience in clerical work.

JOB KNOWLEDGE: Entry- level working knowledge of procedures, and instructions which apply to USG procurement functions. Some knowledge of local market sources of supply, availability, and pricing practices.

Evaluations: LANGUAGE: English.

Level III ( good working knowledge) is required in

SKILLS AND ABILITIES: Must possess valid vehicle operator’s license; must have entry level proficiency in typing. “This may be tested.”

3.

Purchasing Agent; FSN- 7; Gaborone- 2024- 005 ( P212,674 Starting salary per year + benefits)

Duties: Position works at the United State Agency for Global Media ( USAGM) Botswana Transmitter Plant and is responsible for processing of procurement requests from ( USAGM) sections. Requests bids or quotations for local and international purchases. Reviews bids and quotations for compliance with specifications and for competitive pricing. May visit local bidders’ establishments to determine capabilities and negotiate price including other factors. Reviews invoices against purchase requests/ purchase orders and supporting documents for accuracy in costs and adherence to terms and conditions and specifications prior to onward submission to Voucher Examiner for payment. Analyzes performance of vendors including quality of products, capability to deliver bulk orders, financial stability, and reliability. Collects and assembles market data sources relative to Station needs and maintains a database file for same, for station easy procurement reference. Periodically reviews existing station policies and procedures on procurement. Develops and prepares draft revisions to ensure adherence to current US Government and host country regulations. Maintains the procurement files. Position is the primary purchase card holder for USAGM Botswana Transmitting station. The position is supervised by Administrative Management Specialist position.

Qualifications and Evaluations EDUCATION:

Chartered Institute of Purchase and Supply ( CIPS) Professional Diploma in Procurement and Supply is required. CIPS 2- year program is required.

Requirements: EXPERIENCE:

is required.

JOB KNOWLEDGE: Knowledge in procurement, purchasing of a wide variety of products and services required. A working knowledge of what goods and services are available locally is required. A working knowledge of commerce within the country, to include local contractual requirements, customs, and case law as they relate to contracting for goods and services is required.

Evaluations: LANGUAGE:

3 years’ experience in procurement or acquisitions

Level IV English and Setswana reading/ writing is required. ( Fluent) speaking/

SKILLS AND ABILITIES: Must be familiar with local and South Africa market practices and suppliers, ability to understand the international marketplace through market research and comparative analysis. Must be computer proficient in Microsoft Word, Excel, and MS Outlook. Must be sufficiently computer savvy to rapidly develop proficiency in proprietary software in an everchanging software environment. Must have keyboard/ typing skills with accuracy. Must have excellent customer service skills to develop and maintain effective, sustainable working relationships. Numerical skills required to work with exchange rate conversions, purchase log in excel sheets, ability prepare a reconciliation to tally with purchase orders. Valid Class B license required. Job holder must have held a driver’s license for at least five years. “This may be tested.”

Qualifications: Local prescriptive privileges must be acquired. All applicants under consideration will be required to pass medical and security certifications.

Other information:

Applicants must address each required qualification listed with specific and comprehensive information supporting each item. Failure to do so may result in a determination that the applicant is not qualified.

TO APPLY:

The HR Office uses

https:// bw. usembassy. gov/ to advertise its positions. This site has a list of U. S. Embassy’s vacant positions and instructions to log on and apply. Candidates interested in applying for these positions must apply via the

https:// erajobs. state. gov/ dos- era/ bwa/ vacancysearch/ searchVacancies. hms site and follow the application instructions to submit an application.

For best results the HR Office recommends the use of the internet web browser Google Chrome.

N. B. CANDIDATES NOT INVITED FOR INTERVIEWS, WILL NOT RECEIVE REJECTION LETTERS. ANY CANDIDATE NOT CONTACTED FOR AN INTERVIEW WITHIN ONE MONTH OF THE CLOSING DATE SHOULD ASSUME THAT THE POSITION HAS BEEN FILLED.

Closing date: March 8, 2024