The events industry was one of the industries hit the hardest by the pandemic. Therefore on 5 August, all over South Africa, 505 buildings were lit up red, the international colour of emergency. This was done in solidarity with the events industry’s cry for help and recognition.
Sharif Baker, the chairperson for the Technical Production Services Association (TPSA) and Southern African Communications Industries Association (SACIA), says every single business in the country is in danger due to the Covid-19 restrictions.*
“We have already seen many either close up shop or go into business rescue with many more on the brink of collapse because of lack of financial income or aid,” says Baker.
The events industry has been no exception. One example is the well-known live music venue in Cape Town, Mercury Live, which had to close its doors even before the official lockdown happened. In a statement made on their Facebook page on 19 March, they announced their closure.
Mark van Zyl, guitarist for Afrikaans punk band Lat Patrollie, performing at Mercury Live 2019. PHOTO: Wilné van Rooyen
According to Lee-Ann Alder, association manager of Exhibition and Event Association of South Africa (EXSA), the events industry is dead.
This is problematic as the industry has an impact on so many other sectors such as tourism, transport, accommodation, entertainment and more, says Alder.
“No shows, expos or large scale events can happen. This has affected large events and one-man operations that do weddings, 21sts etc,” Alder continues.
Visitors of Zeitz Museum of Contemporary Art Africa viewing South African photographer, Zanele Muholi’s photograph called ‘Bester I, Mayotte’ from her ‘Somnyama Gonyama’ photographic series. PHOTO: Wilné van Rooyen
Baker says the sector is a large part of the economical wheel that forms part of the fiscal dynamics of South Africa. It also helps contribute hundreds of thousands in the workforce which is complemented with billions to the GDP.
“[M]ore importantly, the industry (especially the live events sector) brings a psychological balance to life by virtue of feeding the soul with information, goodwill and positivity…If music be the food of life and love….play on!” states Baker.
“If music be the food of life and love….play on!”
#LightSAred
“We refuse to be the forgotten industry,” reads the about section on the #LightSAred website. “For decades our industry has brought smiles to faces, we’ve provided entertainment with theatre productions, political rallies, sports events, festivals and so much more to South Africa. We are usually behind the scenes, but we are now standing up to #LightSAred and make our voice heard.”
The events industry has been one of the hardest-hit industries in South Africa says Baker, who is also the spokesperson for #LightSAred.
According to Baker, the primary objective for #LightSAred is to have a seat at the table with the government and to discuss a way forward, to gain financial assistance as well as relief via an extension of either the Temporary Employer/Employee Relief Scheme (TERS) or Unemployment Insurance Fund (UIF).
Cape Town City Hall lit up in red with #LightSAred projected onto the building. As red is the colour of emergency, Baker believes it is fitting that the “Symbolic Resistance” of illuminating buildings in red will gain the attention needed. PHOTO: Andrew Pettit/Supplied
“#LightSAred was created to get the attention of the government so as to engage in discussion because we have been ignored and marginalized,” says Baker.
In the last couple of months, the government has engaged with #LightSAred and the events industry on a few occasions as to their Events Safety reopening guidelines as well as relief packages for the sector.
He says #LightSAred was also created to raise awareness about the struggles the industry is facing.
Duncan Riley of DWR Distributors picked up similar activations from companies in both the United Kingdom and Germany and decided to create #LightSAred.
“[Riley] approached me and asked if we could follow suit as to our European counterparts in gaining the attention of Government,” says Baker.
The Fight for Survival
Nicolas Strydom, a freelance sound engineer and lighting designer who works for numerous companies, has felt the impact of lockdown deeply.
“Lockdown affected my livelihood and income to such a degree of non-existence. From the day lockdown was announced, within a week all of my booked events were cancelled and came to a halt, thus resulting in no income,” says Strydom.
Livelihoods weren’t the only things affected, according to Strydom. With the events industry struggling, those that work for the industry also had to deal with the mental and emotional effect of not being able to create.
Ashley Hilton Jacobs, the bassist for Jan Blohm, was in the middle of a tour when social distancing was implemented, resulting in shows being cancelled.
“[F]or a person who is on tour for more than eight months of the year to be stuck at home without work or income for over five months, it has been a rollercoaster of emotions and to be honest, not many for the positive side,” says Jacobs.
Musician setting up gear for a live show. Jacobs says he is ready to be back on stage as it would be really good for his soul. PHOTO: Adi Goldstein/Unsplash
Jacobs mentions that some musicians or gear companies are selling their equipment to make ends meet.
According to Strydom, the industry should open up but with social distancing in mind to enable a large number of freelancers, artists and production companies to earn a livelihood.
“If there is not more support, the industry might not survive,” says MP Veronica van Dyk, Deputy Shadow Minister of Sports, Arts and Culture.
Money, money, money
Van Dyk says that people in cultural occupations make up about 3% of all jobs in South Africa. This rises to almost 7% or 1 million jobs when people working in creative industries support occupations are included, she continues.
Finding statistics about the events industry and how much money it brings in, is rather difficult.
“As of the last projection by the Treasury, our industry brings in 0.2% to the GDP. However, this is rather flawed as the last survey was done years ago and thus is not a factual representation,” says Baker.
#LightSAred has asked members and businesses of the industry to fill in a survey so that data can be collected and shown to the government.
“The survey is still in process and it will take some time to complete,” Baker says.
He points out that if you just look at the five biggest festivals that take place annually, it adds up to more than R 3 billion. This is over and above all other events, conferences and exhibitions that take place.
The five biggest festivals include Cape Town International Jazz Festival, Joy of Jazz Festival, Rocking the Daisies, Delicious and Macufe Festival.
Australian musician Tash Sultana performing at Rocking the Daisies 2019. Rocking the Daisies had to postpone their 15th festival to 2021 due to the Covid-19 pandemic. PHOTO: Wilné van Rooyen
Regarding financial assistance for the industry, Van Dyk says: “The department of arts and culture made a relief fund of R 150 million available. Unfortunately, there are a lot of questions around the processes and allocation of the funding. Only R 61 million has been paid out so far.”
According to the presentation made to the Portfolio Committee R 40 million has been paid to beneficiaries. This has accumulated to R 61 million overtime as more qualifying beneficiaries have been approved for funding.
According to the Department of Sports, Arts and Culture, the delay in paying out the money is mostly due to verification of supporting information or documents to the application. They have to ensure that the applicant complied with all the requirements and deserves the money.
From the R 150 million, Baker says they are aware of at least R 20 million that has gone to the Sporting Federations and then an undisclosed amount to the industries setting up virtual performances.
He says there has been direct assistance to the masses by virtue of a second wave relief fund, especially for freelancers by the Department of Sports, Arts & Culture.
Baker says the industry will have to relook at the way events both live and or business is presented for a post Covid-19.
The Zip Zap Dome in Cape Town in bright red. Adler believes that people have gained a better understanding of the depth of the industry and hopes they have seen all the campaigns on the news and through social media. PHOTO: SUPPLIED/Andrew Pettit
Adler says the community should support the online events that are slowly starting to happen.
“After about 4 months of zero events, live streaming started to become a more reliable source of work but operates at a fraction of the financial backing of live events,” states Strydom.
The future of events according to Adler will be a hybrid between online and in-person events.
“Technology has been a lifesaver in these times but nothing can replace the value of face to face interaction,” says Adler.
“…but nothing can replace the value of face to face interaction.”
Fans enjoying a Fokofpolisiekar show at Kirstenbosch Gardens 2018. PHOTO: Wilné van Rooyen
*NOTE: This article was written in August before the lockdown regulations were eased to allow for public gatherings and some entertainment industries to open.