BAGAMOYO COLLEGE OF ARTS AND CULTURE

TAASISI YA SANAA NA UTAMADUNI BAGAMOYO

SITUATIONAL ANALYSIS CONCEPT FOR DEVELOPMENT

OF A CURRICULUM IN EDUCATION PROGRAMME WITH
ARTS AND CULTURE

Bagamoyo College of Arts

Kaole Road,
Postal Address: P.O.Box 32 Bagamoyo Tanzania
Telephone: +255 023 2440149
Mobile:
Email: info@tasuba.ac.tz
bagamoyofest@tasuba.ac.tz

MARCH, 2024
ii
 TABLE OF CONTENTS
LIST OF ABBREVIATIONS........................................................................v
EXECUTIVE SUMMARY...........................................................................vi
1.0. INTRODUCTION...............................................................................8
1.1. Background Information...............................................................8
1.2. Mission and Vision......................................................................8
1.3. Vision ;...................................................................................8
A dynamic Arts and Culture centre of excellence in Africa..............................8
2.0. POLICIES AND LAWS PERSPECTIVES IN RELATION TO CURRICULA IN ARTS
MANAGEMENT AND MARKETING AND CULTURAL HERITAGE AND TOURISM...........9
2.1. The Tanzania Development Vision 2025............................................9
2.2. National Skills Development Strategy (NSDS 2016 - 2026).....................10
2.3. Development of Culture Policy Since Independence............................10
2.4. National Education and Training Policy...........................................12
2.5. National Employment Policy, 2008................................................12
2.6. Global Policies perspective on Cultural Heritage...............................13
3.0. OBJECTIVES OF THE SITUATION ANALYSIS...............................................16
3.1. Main objective of the Situation Analysis.........................................16
3.2. Specific Objectives...................................................................16
4.0. LITERATURE REVIEW........................................................................17
4.1 Theoretical Framework..............................................................17
4.2 Conceptual Framework of Cultural Heritage Management.....................18
4.2.1Management based on ANZECC Model.............................................19
4.2.2Specifics of Management by AHC Model...........................................20
4.2.3NWHF Heritage Site Development Model.........................................21
5 METHODOLOGY USED IN CARRYING OUT THE SITUATION ANALYSIS.................24
5.1 Planning and Conduct of the Situational Analysis...............................24
5.2 Data Collection using Structured Questionnaires...............................24
5.0 DATA ANALYSIS AND PRESENTATION OF FINDINGS.....................................27
5.1 Activities of Respondents............................................................27
5.1.1Main Activities.........................................................................27
5.1.1Job Positions...........................................................................27
5.2 Recruitment Criteria and Sources..................................................28
5.3 Training Programmes.................................................................29
5.4 Importance of the Curriculum for Arts Management and Marketing..........29
5.5 Importance of the Curriculum in Cultural Heritage and Tourism.............30
 5.6 Proposed Technical, Business and Behavioral Skills In Arts Management....31
5.6.1Proposed Technical skills in Arts Management and Marketing.................31
5.6.2Proposed Technical skills in Cultural Heritage and Tourism...................32
5.6.3Proposed Business Skills.............................................................33
5.6.4Proposed Behavioral Skills...........................................................33
5.7 Prospects for Expansion of the Art and Culture Sector.........................34
5.8 Prefered Arts Management and Marketing Skills to be Included in the
Curriculum.............................................................................35
5.9 Kind of training Proposed for workers in Cultural institution?.................35
5.10 Areas the training programme to cover?.........................................35
5.11 Training methods proposed considered to be the most suitable for our
institution..............................................................................36
5.12 Challenges in Arts and Culture that TASUBA Needs to Addresses on
Establishment of the Arts Management and Marketing and Cultural Heritage
and Tourism...........................................................................36
6.0 CONCLUSION AND RECOMMENDATIONS..................................................37
7.0 REFERENCES..................................................................................38
APPENDICES..........................................................................................39
LIST OF TABLES
Table 1: Regions Involved in Situation Analysis Survey........................................25
Table 2: Coverage of Questionnaires for the Survey..........................................26
Table 3: Main Activity of Arts Institutions.......................................................27
Table 4: Activities Performed.....................................................................27
Table 5: Recruitment Criteria.....................................................................28
Table 6: Sources of Recruitment.................................................................28
Table 7: If the Art Institutions has a Training Programme....................................29
Table 8: If YES, Is training Conducted Regulary or When Needs arise?.....................29
Table 9: Where Training Provided................................................................29
Table 10: Opinions from Respondents on the Importance of the Curricilum for Arts
Management and Marketing.......................................................................30
Table 11: Importance of Cultural Heritage and Tourism Curriculum.......................30
Table 12: Technical and Business Skills Required in Arts Management and Marketing
Programmes..........................................................................................31
Table 13: Technical Skills in Cultural Heritage and tourism.................................32
Table 14: Entreprenurship Skills required in Art Management and Marketing.............33
Table 15: Behavioral Skills in Cultural Heritage and Tourism as Suggested by
Stakeholders.........................................................................................34

LIST OF FIGURES
Figure 1: Heritage Reputation Framework......................................................18
Figure 2: Cultural Heritage Management Model ANZECC.....................................20
Figure 3: Australian Heritage Commission Model..............................................20
Figure 4: NWHF Model..............................................................................22
Figure 5: Response on Prospects for Expansion of the Art and Culture Sector............34
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LIST OF APPENDICES
Appendix 1: List of Respondents, Location and Their Activities.............................39
Appendix 2: Criteria Used in Recruitment of Arts Staff.......................................40
Appendix 3:Number of Staff in the Visited Arts and Culture Institutions..................43
Appendix 4: Challenges That TASUBA can address.............................................45

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LIST OF ABBREVIATIONS

AHC - Australian Heritage Commission

ANZECC - Australian and New Zealand Environment Conservation Council
ICT - Information and Comminication Technology
IT - Information Technology
LAN - Local Area Networking
MoEST - Ministry of Education Science and Technology
NACTE - National Council for Technical Education
NCWHF Northern Countries’ World Heritage Fund
NSC - National Skills Council
NSDS - National Skills Development Strategy
NSGRP - National Strategy for Growth and Reduction of Poverty
NTA - National Technical Award
NVA - National Vocational Award
PC - Personal Computer
SDG - Sustainable Development Goals
SPSS - Software Package for Social Scientists
TDV - National Development Vision
UNESCO - United Nations Educational, Scientific and Cultural Organization
VBC - Visual Basics
VET - Vocational Education Training
VETA - Vocational Education and Training Authority
EXECUTIVE SUMMARY

ES1: Bagamoyo College of Arts and Culture (Taasisi ya Sanaa na Utamaduni Bagamoyo-
TaSUBa) conducted this situation analysis study to justify the need of developing
curricula for Basic Technician Certificate and Ordinary Diplomas as follows: 1. Basic
Technician Certificate in Arts Management and Marketing; 2. Basic Technician
Certficate in Cultural Heritage and Tourism; 3. Ordinary Diploma in Arts
Management and Marketing; and 4. Ordinary Diploma in Cultural Heritage and
Tourism.

ES2: The main objective of conducting situational analysis was to obtain relevant
information from various stakeholders that would form a basis for developing of
curricula for Basic Technicians Certificates and Ordinary Diploma programmes in
Arts Management and Marketing; and Cultural Heritage and Tourism (NTA level 4,
5 and 6). Data were collected through primary and secondary data sources.
Review conducted for various national policies; regional policies as well as global
policies and other deem relevant documents needed to justify for curricula
development exercise as per NACTE guideline.

ES3: The situational analyisis was conducted from March 2020 to April, 2020.
Stakeholders involved in the study were art, culture and tourism professionals,
employers and societal groups. Respondents were sourced from Parastatal
organizations, Companies, public and private Institutions in representative regions
of Tanzania namely Dar-es-Salaam and Pwani.

ES4: Total numbers of 54 questionnaires were distributed and the percentage

questionnaires returned from various stakeholders was 72.5%. The major findings
of the survey revealed that stakeholders recommended strengthening of technical
skills in the curricula for Arts Management and Marketing andCultural Heritage
and Tourism.

ES6: Stakeholders supported the development of curricula for Art Managemet and
Marketing and Cultural progr Heritage and Tourism programmes (NTA level 4, 5
and 6) at the Bagamoyo Institute of Arts and Culture (Taaasisi ya Sanaa na
Utamaduni Bagamoyo-TaSuBa) in order to produce graduates with competency
needed in labour market.
KEYWORDS',

cultural heritage, marketing, local community,

heritage tourism products, models

viii
1.0. INTRODUCTION

1.1. Background Information

The Bagamoyo Arts and cultural Institute (Taasisi ya Sanaa na Utamaduni Bagamoyo,
TaSUBa) is a semi-autonomous governmental organisation for training, research and
consultancy service in arts and culture. It was established by The United Republic of
Tanzania to "encourage the development of the arts of Culture, to promote their use as a
record of contemporary life and manners, to promote education about film, television and
the moving image generally, and their impact on society. As an Institute it aims to
provide a conducive environment for skills building, learning, promoting practical
innovation as well as community service. Various arts and culture courses that are
offered, have been carefully designed to suite a wide range of clients in a challenging
world of advancing arts and culture in Tanzania. To this case, TASUBA intents to establish
Ordinary Diploma in Arts Management and Marketing and Cultural Heritage and Tourism
Management at her main campus in Bagamoyo, Tanzania.

1.2. Mission and Vision

Conduct training, research and consultancy services in arts and culture by producing high
quality professional artists, arts managers, cultural workers as well as producing arts
products, services and multimedia productions.
1.3. Vision ;
A dynamic Arts and Culture centre of excellence in Africa

1.3.1. TASUBA Functions

 To perform all such other functions as stipulated in the Act establishing TASUBA.

1.3.2. Programmes’ Rationale

TASUBA intents to introduce Arts Management and Marketing and Cultural Heritage and
Tourism programmes as this qualification delivers the underpinning knowledge needed to
meet the nationally recognised standard for the role and so provides a sound basis for
working in the industry.

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The programmes is expected to offer centres flexibility and choice because of the
comprehensive range of optional units which will be included in the courses. Learners in
these programmes will be expected to progress to a range of courses at higher levels,
allowing the Institute to retain or build student numbers.

The proposed programmes is expected to meet the following objectives: preparing

learners for employment, preparing learners to progress to another qualification, meeting
relevant programmes of learning, giving learners personal growth and engagement in
learning.

The future of cultural heritage in Tanzania depends in training and proper management
of cultural heritage resources in protected areas is also hampered by the lack of trained
cultural heritage specialists. Neither NCAA nor TANAPA has archeologists on staff to
recognize such resources and recommend measures for reducing or eliminating impact
during construction and other earthmoving activities.
Improving training for CHM specialists will require universities to establish CHM
teaching programs at the certificate and diploma levels for personnel who would fill
the CHM positions we are advocating. This type of training will also benefit the
personnel who are currently working in the cultural sector, but lack the basic
professional and technical skills their duties require, and, at the same time, lack
qualifications for university degree courses. Training a cadre of junior staff that in
essence deals daily with the activities of CHM would greatly improve the
management of cultural heritage in protected areas and Tanzania in general.

2.0. POLICIES AND LAWS PERSPECTIVES IN RELATION TO CURRICULA IN ARTS

MANAGEMENT AND MARKETING AND CULTURAL HERITAGE AND TOURISM
2.1. The Tanzania Development Vision 2025
The major aspiration of Tanzania as stipulated in its Development Vision 2025 is to
transform its economy from a low productivity agricultural economy to a semi-
industrialized one led by modernized technology and competent human resource. The
TDV 2025 pledges development for all people in the country by building ‘a nation of
people with high quality of education (skills inclusive), with the requisite knowledge to
solve the society's problems, to build a competitive economy which can adapt to the
10
changing market and dynamic technological conditions in the global and regional levels.
In line with the Vision, of TASUBA

2.2. National Skills Development Strategy (NSDS 2016 - 2026)

The National Skills Development Strategy (NSDS 2016 - 2026) emphasizes the need for a
more responsive education and ongoing training to make Tanzanians competitive in the
local and international market. The NSDS pioneers the creation of skilled and
competitive Tanzanian Workforce capable of effectively fostering inclusive and
sustainable socio-economic growth by developing and sustaining transformation of the
Tanzanian Workforce to achieve a composition that guarantees timely attainment of
middle-income status by 2025. NSDS supports the National Development Vision (TDV)
2025-35 and the second National Strategy for Growth and Poverty Reduction Five Year
Development Plan (FYDP II) 2016-2021. The strategy thus covers the entire chain of
skills for employability, from informal and alternative approaches to formal skills
development of which cultural heritage and tourism is also paramount.

2.3. Development of Culture Policy Since Independence

Since independence of Tanganyika in 1961 and the Revolution of Zanzibar in 1964, and
later the Union between these two sates to form the United Republic of Tanzania, the
new government had seen the importance of buiding a nation with culture roots.
Mwalimu J. K. Nyerere, President of the United Republic of Tanzania. Culture for the
republic is a vital and living force, a spirit which gives the nation its distinctive quality.

For the republic, like much of Africa, was backward, part of the ‘dark continent’.
Colonial policies laid waste the heritage and culture, uprooting cultural values, norms
and means of artistic expression. In the process of nation-building, a national culture is
now emerging, a unified but variant culture joining all the people of the United
Republic of Tanzania. Until 1962, the republic did not have a unified cultural policy.
The political parties which fought for independence in Tanzania and Zanzibar namely
TANU and, before TANU, by the Tanganyika African Association (TAA). In Zanzibar the
Afro- Shirazi Party played a similar role were firstly to re-conscious people in
Tanganyika and Zanzibar on cultural, social, political and economic interests were
fostered by the relevance of these organizations, whose interests were basically

11
political rather than cultural, originates from their desire to fight for the freedom and
dignity of the country and of Africa as a whole.
On 10 December 1962, President Nyerere, architect of the Tanzanian nation, a leader
of world fame, and an original thinker of prophetic insight, created the Ministry of
National Culture and Youth. In his announcement to the National Assembly of the then
Tanganyika (before the union of Tanganyika and Zanzibar), President Nyerere made
statements which have inspired culture-conscious people in the United Republic of
Tanzania and other parts of the world, and have served as guidelines for policy-makers
in the Culture Division. The President stated: “I believe that culture is the essence and
spirit of any nation. A country which lacks its own culture is no more than a collection
of people without the spirit which makes them a nation. Of all the crimes of
colonialism, there is none worse than the attempts to make us believe we had no
indigenous culture of our own; or what we did have was worthless-something we should
be ashamed of rather than a source of pride. Some of us, particularly those of us who
have acquired a European type of education, set ourselves out to prove to our colonial
rulers that we had become ‘civilized’. And by that we meant that we had abandoned
every- thing connected with our own past and learnt to imitate only European ways. At
one time it was a compliment rather than an insult to call a man who imitated the
Europeans a ‘black-European’”.1 This is first and foremost an accurate assessment of
the cultural attitudes of the élite of the republic when it gained independence from the
United Kingdom. It underscores the basic cultural needs, the desire to create a national
cultural consciousness and unity out of an assortment of more than 123 tribes, each
with its own sub-culture. Culture is to be the basic element contributing to the sense of
unity as a nation. Tanzanian leaders did not conceive of the existence of a nation
without culture.

In order to address the issue of cultural development in the country, Ministries

responsible for culture were established in both Tanzania Union and Zanzibar
Revolutionary Governments.

The ministries was supposed to provide four essential services:

1. Identification and analysis of cultural opportunities and new cultural,
2. Co-ordination of the planning of cultural development,

1
J. K. Nyerere, in Tanzania National Assembly. O&kl Reports, p. 9, Dar es Salaam
12
 3. Development and management of manpower for cultural programmes, and
4. Provision of central services and professional advice to cultural organs needs on
all cultural programmes.
Long and short term projects were established under five years development plan
started 1964. Funds were allocated to establish cultural infrastructures including
building regional museums in each region, improving, proteting and preventing
historical sites such as the Olduvai Gorge, Ismila Stone age, Kilwa Kisiwani and several
rock painting locatkons and building of antiquaties section. Other steps including
establishmen of the Arts and Culture Institute to serve as a centre for education and
training.

2.4. National Education and Training Policy

The Education and Training Policy, 2014 encompasses the entire education and training
sector with the objectives of increasing enrolments, enhancement of access and equity,
improvement of quality and relevance, expansion and optimization of the use of
facilities, and operational efficiency throughout the system. Other broad policies of the
same aim at enhancing partnerships in the delivery of education and training,
broadening the financial base and the cost effectiveness of education and training, and
streamlining education and training management structures.

2.5. National Employment Policy, 2008

This policy strategies for improvement and transformation of the informal sector for
creating decent jobs by empowering informal sector operators to access skills training
and business development services. The policy also aspires to enhance the promotion of
youth employment by identifying youth specific needs and address them to enhance
their employability and creating enabling environment such as skills training, vocational
guidance and counselling. Moreover, this policy strategizes to facilitate Tanzania
jobseekers to acquire appropriate skills through formal and informal skills training
programmes.

It is also meant to enhance employability, ensuring that entrepreneurship training

programmes form part of the training curricula and intensification of direct and on the
job training. With regard to reducing rural unemployment and underemployment and
rural to urban migration the policy pledges to accelerate skills development of the rural

13
labour force. As such, the objectives of this policy is to enhance skills and
competencies for those in the formal and informal sectors, specifically rural areas.
2.5.1. Institutional Framework

In Tanzania, the Ministry of Natural Resources and Tourism is the leading governmental
institution concerned with the formulation and implementation of tourism development
policy strategies and plans of action, and the stimulation and promotion of private
investment activities. It also regulates, promotes and facilitates tourist service
provision in the country. There are conservation institutions such as the Tanzania
National Parks (TANAPA), responsible for all national parks in the country; Ngorongoro
Conservation Area Authority (NCAA), responsible for conserving the Ngorongoro area;
Tanzania Wildlife Research Institute (TAWIRI) and others. Their roles are to ensure
high-quality tourism service development, to enhance marketing and promotion,
conservation and awareness of the services, and to ensure proper management of the
resources (URT, 1999). There are tourism business owners who are clustered in what is
known as the private sector. The sector has the role of developing, investing,
promoting and marketing tourist products such as accommodation facilities, provision
of attractive tour packages, and many other services. Today, the private sector is well
organized in numerous trade associations such as the Tanzania Association of Tour
Operators (TATO), Tanzania Association of Travel Agents (TASOTA) and Hotel
Association of Tanzania (HAT), among others These associations are the constituent
members of the umbrella organization known as the Tourism Confederation of Tanzania
(TCT) which acts as a representative of the private sector tourism interests.
2.6. Global Policies perspective on Cultural Heritage
2.6.1. Sustainable Development Goals (SDGs) and use of ICT

For the Sustainable Development Goals (SDGs), the goal number 9 focuses on the
promotion of infrastructure development, industrialization and innovation. This can be
accomplished through enhanced technological and and innovation, and increased access
to information and communication technology. This goal is aims to enhance scientific
research, upgrade the technological capabilities of industrial sectors in all countries, in
particular developing countries, including. by 2030, encouraging innovation and
substantially increasing the number of research and support domestic technology
development and innovation in developing countries.

14
This goal can only be achieved through significantly increase access to information and
communications technology and strive to provide universal and affordable access to the
Internet in least developed countries by 2030. VETA Kipawa is inline will this goals
since it aims at producing technicians who will contribute to poverty alleviation by
providing ICT solutions to the government and community through graduates.

2.6.2. UNESCO Policy on Cultural Heritage

UNESCO helps its Member States develop and implement sector-wide policies and plans
to harness the potential of cultural heritage to ensure equitable and inclusive lifelong
learning opportunities for all. For this purpose, UNESCO has developed global cultural
heritage Education Policy Guidelines about the ways cultural heritage can advance
progress toward Education 2030 targets.

The Organization works with Ministry of Education officials of member states and other
stakeholders to establish coherent goals for various skills integration in education and
then facilitates the formulation of appropriate policies and master plans to advance
these goals and create enabling environments. The Organization also regularly identify
best practices, analyze emerging trends, and make recommendations aiming to
facilitate cultural heritage and tourism training and knowledge exchange across
borders.
2.6.3. The Cultural Heritage Management Effectiveness: The Best Practices of Some
Countries

The Norwegians were among the first to evaluate the economic effectiveness of
heritage. Such a practice was developed naturally, as already in the middle of the 19th
century the country was already concerned about the protection of heritage. The Old
Monuments’ Protection Society was established in Norway in 1844 by Norwegian artists
who travelled along the country and “discovered” the cultural heritage of Norway. This
organization is the oldest civil organization of monument protection in Europe. The
maturity and education of the civil society determined the fact that heritage in Norway
is regarded as one of the most important resources of economic and regional
development of the country. The monument protection in Norway does not end in
itself, but it is closely related to the usage of heritage and the creation of the added
value, first of all, in the field of tourism. The natural and cultural heritage is the most
important element of the tourism brand name of Norway. Norway is among few

15
countries in Europe that has not only cultural tourism, but also the specific heritage
tourism product developed that started to be created more than a hundred
years ago. The latter organization established the Norwegian Cultural Heritage
Directorate (NKPD) that already in 1999 began developing communities’ heritage
products following the UNESCO practice (the NWHF models with the social dimension).
This organization started developing the so-called economic base model which later
became the base of the NWHF model.

16
3.0. OBJECTIVES OF THE SITUATION ANALYSIS
3.1. Main objective of the Situation Analysis
The main objective of the situation analysis is to obtain inputs for developing
marketable curriculum that takes into consideration the needs for stakeholders
(employers, profesionals, societal groups, graduates, students and academic staff) as
per NACTE standards and regulations. The stakeholders views would be used to develop
curricula leading to Arts Management and Marketing and Cultural Heritage and Tourism
programmes, thus meeting the demands of the labour markets in Art and Culture.

3.2. Specific Objectives

The specific objectives were:
 To collect views from stakeholders (professional, industrial and societal) needs,
related to skills requirements in arts management and cultural heritage and tourism
for socio-economic changes taking place and accompanied by the rapid development
which have to be embedded in the curricula to be developed;

 To identify the need for specialized skills in arts and culture in order to keep up
with new and emerging technologies;

 To identify technical, business and behavioural skills to be imparted to students to

enable them to go into formal employment and sustainable self-employment; and

 To obtain views on modes of delivery that is appropriate for realization of required

competencies in curricula to be developed.

17
4.0. LITERATURE REVIEW
This chapter of literature review presents the literature side of this situation analysis
and looks on what other people or relevant literatures such as national policies, global
policies, procedures and regulations had worked on the subject matter. NACTE
documents were also reviewed to ensure that situation analysis curricula to be
prepared for Arts Management and Marketing and the Cultural Heritage and Tourism
programmes are in conformity with NACTE requirements. The information collected
from these documents revealed the necessity of establishing the proposed programme.

4.1 Theoretical Framework

The guiding theories in this situation analysis is to explain concepts and processes used
in describing heritage value, conservation and protection as one of the significant issues
in heritage studies and tourism development. In a time where tourism growth impact
the heritage, understanding the relationship between the surrounding heritage and the
citizens, especially the local communities, can play an important role in cultural
conservation and tourism development. This literature review aims to provide a
theoretical frame-work for heritage reputation, that integrates the heritage value and
the causal framework regarding beliefs, attitudes, intentions and behaviors towards an
object, in this case the heritage.

Figure 1 integrates the various theories in one reputation framework for measuring the
heritage reputation. At the bottom of the pyramid is heritage characterization, which
includes the heritage location and other thematic characteristics (e.g. natural and/or
cultural heritage, tangible or intangible, included in protection list, age/period in
history, etc.). The objective of this review is not to clarify the heritage concepts, but
to emphasize that the heritage characterization as an important construct in the
evaluation of heritage site reputation and in order to assess if the most reputed
heritage tend to share specific characteristics. In the next level, the heritage values
that refer to the intrinsic reason for heritage conservation, an antecedent for its
reputation. These two first levels of the pyramid are the most stable over-time and for
this reason they are at the bottom of the pyramid. Following the former levels are the
beliefs and attitudes towards heritage. The attitudes are a consequence of the values
(more constant in time) and the beliefs (most likely to change overtime, when new
information is at stake). The penultimate level is the heritage reputation itself that is
the sum of the first three levels of the pyramid. The consequences of the heritage
18
reputation are in the last level of the pyramid that include the intentions and behaviors
towards heritage, the consequences of the heritage reputation that include the
heritage protection and conservation.

Intentions and Behaviours

towards Heritage.

Heritage reputation

Beliefs and Attitude towards

Heritages

Heritage Values

Heritage Characterization
(Location and Thematic
Attributes)
Intangible Tangible
Absence (of time) (Relevance of
time
Source: Monteiro, Vasco et la (2014): Is the Heritage Really Important? A Theoretical
Framework for Heritage Reputation Using Citizen Sensing, Habitat International,
Geneva.

Figure 1: Heritage Reputation Framework

Two additional axes are included in the framework (at the bottom) related to two
important dimensions: space and time. Although space and time can be dimensions to
characterize heritage, and therefore included in the heritage characterization bottom
level, it was decided, to include the axis regarding these dimensions outside the
pyramid. In this framework, the space dimension axis is related to the heritage
tangibility (from intangible to tangible) and the temporal dimension axis is related to
the relevance of time (from absence to relevance of time).

The above mentioned theory regarding cultural heritage from Monteiro indicates that
cultural heritage and tourism, if integrated in valuable skills, it can contribute in
increasing to expansion of art and culture professional hence employment creation,
increase income to individuals and assist in poverty alleviation in Tanzania.

19
4.2 Conceptual Framework of Cultural Heritage Management
Cultural heritage management is the process of protection and management of
abundant and individual cultural heritage elements, related to the enlargement of the
society and its changing needs. Cultural heritage management is an inseparable part of
the research of conservation, restoration, musicology, archaeology, history and
architecture of heritage objects.

The aim of this part of literature review is to analyse the practices and models for
cultural heritage management, which are practically used in the world. There are many
various models and concepts developed in the scientific literature and heritage
management practice how to properly manage cultural heritage. On the other hand,
there is a general attitude that at present the most effective three models have been
developed by Australian and recommended by UNESCO heritage specialists. These are
the heritage management practices that are taken over and adapted by many other
countries of the world. The three heritage management models are the ANZECC, AHC
(developed by Australian heritage organizations) and NWHF which will be analysed.
4.2.1 Management based on ANZECC Model
ANZECC is the Australian and New Zealand Environment Conservation Council which is
related to the strategic management, identification and evaluation of heritage objects,
distribution of resources, protection, conservation, interpretation as well as
maintenance (Figure 2). Further on, the simplified model of the ANZECC is provided
and it best of all reflects the practice of the ANZECC with regard to cultural heritage
objects.

20
 Identification and
Evaluation:
Importance of Cultural
Heritage values

Formal and Non Formal

Maintenance of Heritage Distribution of Resources
Objects for each Organization and
Specific Values

Strategic
Heritage
Management
Cultural Heritage Protection of Cultural
Protection (Cultural Heritage Values
Industries)

Conservation Plan

Source: Jureniene, V., Radzevicius, M. (2014), “Models o f Cultural Heritage

Management”, Transformations in Business & Economics, Vol. 13, No
2 (32), pp.236-256.
Figure 2: Cultural Heritage Management Model ANZECC

Following the model, the ANZECC is actually a consecutive process starting from the
identification and evaluation. All the main stages are derived from strategic aims that
include the systems, the main aims and standard situations. There is a constant
reciprocal relation between the main stages and the strategic management process.
There is no need to apply all the stages of this model to each value of cultural heritage.
There might also be such values that are not subject to the conservation stage, or there
might be such values that are to be preserved, and not adjusted to the public needs.
4.2.2 Specifics of Management by AHC Model
That is namely how the model of the heritage risk management as formed by Australian
Heritage Commission (AHC)differs from the ANZECC model: the risk management
includes three groups of actors - tourism operators, heritage managers and the local
community (Jureniene, V, et la 2014). Figure 3 presents the essential functions of the
interested parties included in the AHC model in order to be more informative.

SUCCESSFUL
DEVELOPMENT OF
TOURISM INDUSTRY

Tourism Industry Heritage Managers

Products, Protection, Selection
21
Customers, Profits resources, management
 Community
Community
Development,
Ownership, Identity

Source: Jureniene, V., Radzevicius, M. (2014), “Models o f Cultural Heritage

Management”, Transformations in Business & Economics, Lithuanian. Vol. 13, No
2 (32), pp.236-256.
Figure 3: Australian Heritage Commission Model

Private companies that have the main aim to generate income and gain profit – just like
all the other businesses are the driving force of almost all tourism industry. Therefore,
tourism operators are under constant pressure because of the business profitableness
and the needs of clients. This pressure often arises because of several essential
reasons. First of all, tourism companies are largely dependent upon the seasons and
unstable money flows. Secondly, tourism operators are also very dependent upon the
preferences of clients, what and where they want to see and experience, as well as
upon the managers of heritage objects and national heritage regulations. Another
important reason is the meaningfulness of heritage objects: as it was mentioned above,
heritage may become the main and often the only motivation of tourists, the
attractiveness and proper presentation of which determine the decisions of tourism
operators such as what segments of consumers have to be developed and what services
are necessary. Heritage managers must not only assure the maintenance, control and
protection of heritage according to the valid legal acts and norms, but also take care of
the proper declaration of an object as that of heritage as well as interpretation. The
managers that are seen as institutions in this model, regardless of nature, scale or
value of heritage objects they supervise, are responsible for the accessibility of these
objects. Heritage managers are also responsible for making the heritage object/site,
submission of information as well as representation known.

4.2.3 NWHF Heritage Site Development Model

Tourism the most rapidly growing and one of the most profitable industry branches in
the world. Tourism offers incomparable possibilities for the economic development of
local communities of heritage.

22
Attention should be paid to the fact that in the development of this model, the UNESCO
organization was primarily oriented towards the development of the world heritage
places, which was the reason for the particularity of this model, because the aim was
to include as many aspects affecting the heritage tourism as possible. The NWHF model
(Figure 4) was formed in the course of the international project that lasted for five
years and that was meant for the upgrading of the capacities of the communities of
poorly developed Asian countries in the field of tourism. The project was implemented
not only by the agencies managing specific world heritage places , but also tourism
companies, representatives of local communities, also various non-governmental
organizations working on the protection of heritage.

CULTURAL HERITAGE
IDENTITY

1
FISCAL STRATEGY
3
EDUCATION STRATEGY
Income of Tourism, SUSTAINABLE DEVELOPMENT
Teaching in order to
Planning for STRATEGY
increase the
Community needs,
Capital Investments in
Tourism
Tourism industry
investments 2 employment rate in
local community

COOPERATION STRATEGY
Creation of relations among the
interested parties. Search for consensus
4
HERITAGE MANAGEMENT PLAN FORMATION

IMPROVEMENT OF THE PLAN

In order to assure the needs of all the interested parties
are met and the highest possible profits are reached

CREATION OF INDEX SYSTEM

Information is collected on a regular basis
EVALUATION OF INFLUENCE OF CULTURAL HERITAGE TOURISM DEVELOPMENT
Analysis, Monitoring, Evaluation
23
Source: Jureniene, V., Radzevicius, M. (2014), “Models o f Cultural Heritage
Management”, Transformations in Business & Economics, Vol. 13, No
2 (32), pp.236-256.
Figure 4: NWHF Model

The aim of the project was to discover the suitable cooperation and communication
forms among tourism companies and heritage organizations. But when the project was
about to finish, it was noticed that the largest influence upon these two countries is
made by communities (just as it is the case of the AHC). Namely, the communities
became the comer stone in the preparation of this model that formed the economically
beneficial and socially acceptable cooperation of local inhabitants and interested
parties. This system of the heritage management includes four elements, the so-called
“Green plans” that can also act as separate models of heritage management. All four
fundamental elements of NWHF model are as follows: -
1. Fiscal strategy
Due to this measure, the local heritage managers may properly evaluate the costs of
the adjustment, presentation, declaration as heritage of the heritage objects as well as
determine the main mechanisms of obtaining profit from heritage and find new sources
of income.
2. Sustainable tourism strategy
This part of the system is meant for the analysis of the measures that should be taken
in order to improve the knowledge of tourism operators and the information about the
cultural heritage of a site, its value. It also establishes the means and methods how the
tourism industry could contribute to the development of sustainable tourism and the
conservation of heritage as the limited resource of tourism.
3. Education strategy
It is a social element that was included into the NWHF model because of political
reasons. This measure aims to develop the capacities and knowledge of employees
working in the field of tourism and heritage, and it is also meant to purposefully plan
the engagement of socially vulnerably groups into the heritage and tourism
development.
4. Cooperation strategy
As the NWHF model is based upon the creation of a network, it is necessary to form the
organizational structure that suits all the interested parties and that would carry out
the functions of the process supervision and monitoring. The main condition, that

24
usually brings most difficulties in the formation of this strategy, is the fact that such an
organization must be based upon the equality principle, but usually all the parties are
very much concerned to have the decisive influence in the management of the
organization.

Generally, the NWHF model is rather a structural scheme than an activity model: the
application of this model first of all starts from the creation of the future vision with
regard to present resources. Namely, the future vision becomes the foundation of the
future heritage development network. We therefore regard this model better for
enhancement of cultural heritage and tourism training development.

25
5 METHODOLOGY USED IN CARRYING OUT THE SITUATION ANALYSIS
5.1 Planning and Conduct of the Situational Analysis
Planning of the situational analysis work started with clarification of the purpose and
objectives of the study in line with NACTE requirements. The following three main
approaches in obtaining information were used;
(a) Literature Review related to the study;
(b) Data Collection using Structured Questionnaires; and
(c) Human, Physical and Infrastructural Resource Assessment.
To incorporate the work, TASUBA team of experts employed listed the potential
stakeholders; designed appropriate questionnaires and listed documents to be refereed
for review; and collected data using structured questionnaires.

5.2 Data Collection using Structured Questionnaires

(a) Identification of Institutions covered in the Study
Stakeholders were identified from which opinions/recommendations were sourced. Four
key stakeholders groups were strategically identified to form the important sample
frame which included the following:
 Professionals (professional bodies, training institutions, government agencies)
 Employers/ Industry
 Societal groups
 Bagamoyo Arts and Culture Institute faculty members and staff
 Bagamoyo Arts and Culture Institute students and graduates

(b) Design of Questionnaire

A structured questionnaire was designed to identify the needs of the stakeholders. A
copy of questionnaire used in surveying is attached as an appendix. (See Appendix I).
The questionnaire includes general information on Arts Management and Marketing and
the Cultural Heritage and Tourism programmes. Training programme information on the
structure of the academic program and competences, which include general attributes,
managerial skills (adequate supervisory skills), technical and research skills as they are
preferred by the stakeholders were included.

In addition, they were also requested to indicate opinion on preferred mode of course
delivery in the sense that balances between theory and practical, core (compulsory)

26
and electives (options) modules as well as preferred period between study breaks and
mode of assessment.

5.2.1 Administration of Questionnaire:

Questionnares were administered to different stakeholders by TASUBA team that were

involved in the study in representative regions. Furthermore, other academic staff
members, Arts and Culture graduates and students from TASUBA were also considered
as stakeholders and involved in the study. Data collection exercise was done using
structured questionnaires. The survey was conducted from March 2020 to April, 2020.
The survey was conducted in selected regions of Tanzania mainland namely Dar-es-
Salaam and Pwani making a representation of the country and stakeholders. Total
number of 6 TASUBA Staff and one labour market expert from VETA were involved in
the survey.

The study sample were drawn from the population comprising the following strata;
Local government authorities, regulatory authorities, government agencies and
companies, private companies, associations, international organizations, training and
research institutions.

Tables 1 shows representative regions that were surveyed and the number of
questionnaires collected respectively.

Table 1: Regions Involved in Situation Analysis Survey

Areas of Distributed Retrieved Percent

S/N Representing Regions
Survey Questionnaires Questinnaire %
1 Dar es Salaam Dar es Salaam 25 17 68%
Pwani Bagamoyo 40 30 75%
2
TASUBA Academic Staff Bagamoyo 10 7 70%
TOTAL 75 54 72%

Table 4.4.2 shows coverage of questionnaires for the survey for different stakeholders.
Number of questionnaires that were distributed were 75. Number of questionnaires
collected were 150. Overall percentage recovery of questionnaires is 72.5%.

27
Table 2: Coverage of Questionnaires for the Survey

No. of No. of % of
S/
Target Group questionnaire questionnaires questionnaires
No
s distributed collected collected
1 Employers/ Industry 33 22 67%
Arts and Culture
2 30 25 83%
Groups
Professionals and
3 12 7 58%
Academic Staff
Total 75 54 72%

28
4.0 DATA ANALYSIS AND PRESENTATION OF FINDINGS
Data analysis was done using Statistical Package for Social Science (SPSS). This section
presents findings on skills requirements from employers, professionals, society and the
community in general. Institutional and community needs comprised teaching staff of
the Taasisi ya Sanaa na Utamaduni Bagamoyo-TASUBA.
5.1 Activities of Respondents

5.1.1 Main Activities

Main activity for most of the respondents were music, traditional drumming and
performing art followed by crocodile farming and conservation of antiquities.
Table 3: Main Activity of Arts Institutions
Main Activity of the Art Institutions Frequency Percent
Music, traditional Drumming and Performing Art 16 34%
Crocodile farming 9 19%
Conservation of antiquities 7 15%
Fine Art and Craft work 4 9%
Tour guiding 4 9%
Cultural heritage and tourism 3 6%
Snake park 2 4%
Drama and Filming 1 2%
Pottery 1 2%
Total 47 100%

The visited institutions found to employ 314 staff. Among them, 57% of them had
permanent contracts while 43% had temporal contacts as shown in Appendix 3
5.1.1 Job Positions
Job positions were identified as result of performing the following activities: Fine Arts,
Tour guide, Crocodile farming including providing education on crocodile life and
reproduction of crocodiles, conservation of artwork products and also music, dancing
and drummings were major activities found performed by Art and Tourism groups
visited. Table 4 indicates activities performed by respondents.

Table 4: Activities Performed

Activities performed Frequency Percent
Fine Art 12 11%
Tour guide 11 10%
Crocodile farming 8 7%
Provide education on crocodile life 8 7%
Reproduction of crocodiles 8 7%
Conservation of artwork and products 8 7%
Music 7 6%

29
 Activities performed Frequency Percent
Dancing 7 6%
Drumming 4 4%
Research and archives 4 4%
Performing art 4 4%
Culture hertage management and tourism 4 4%
Acting 3 3%
Singing 3 3%
Curving 2 2%
Decoration 2 2%
Preparing artwork preframmes 2 2%
Tourism 2 2%
Eco tourism 2 2%
Marine tourism 2 2%
Animal park 1 1%
Knitting 1 1%
Music bongo flavour 2 2%
Pottery work 1 1%
Snake Park 1 1%
Traditional dances 1 1%
Total 110 100%

5.2 Recruitment Criteria and Sources

Practical ability is regarded as the most criteria of recruiting staff in Art and Culture
sector followed by innovative and good attitude as shown in table 5.
Table 5: Recruitment Criteria
Recruitment Criteria N Percent
Practical ability and knowledge 53 22.3%
Innovative and ability to communicate 51 21.4%
Good attitute, trust and ability to work with others 46 19.3%
Customer care 44 18.5%
Academic qualification 44 18.5%
Total 238 100.0%

Arts Colleges were seen as major source of recruitment of staff followed by

advertisements, informal applications and personal communications. Table 6 illustrates
sources of recruitment for arts and culture staff.
Table 6: Sources of Recruitment
Source of Recruitment N Percent
Arts Colleges 25 28.1%
Advertisements 17 19.1%
Informal Applications 20 22.5%
Personal communications 20 22.5%
Attractions/Talents 7 7.9%

30
 Total 89 100.0%

5.3 Training Programmes

This SA also wanted to know if Arts Institutions has training programmes. 81% of Arts
institutions said to have their training programmes as shown in table 7. This indicates
that Arts institutions they do value training.
Table 7: If the Art Institutions has a Training Programme
Responses Frequenc Percent
y
Yes 38 81%
No 5 11%
Not stated 4 9%
Total 47 100%

Respondents said that training is conducted when needs arise. This means that despite
of the fact that Arts institutions has training programmes, training normally conducted
when needs arise (83%), followed by training provided everytime as shown in table 8.
Table 8: If YES, Is training Conducted Regulary or When Needs arise?
Provision of Training Frequency Percent
Training Provided Everytime 8 17%
Training Provided When Needs Arise 39 83%
Total 47 100%

Arts and Colleges were identified as main sources of training (49%) followed by training
on the job (32%) and also from other colleges (9%) as indicated in table 9.
Table 9: Where Training Provided
Where Training Provided Frequency Percent
Training Provided by Arts Colleges 23 49%
Training Provided on the Job 15 32%
Training Provided by Other Colleges 9 19%
Total 47 100%

5.4 Importance of the Curriculum for Arts Management and Marketing

Opinions on importance of the curriculum for Arts Management and Marketing were
collected from stakeholders with tha sake to justify importance of the curriculum as
illustrated in table 10.

Table 10: Opinions from Respondents on the Importance of the Curricilum for Arts
Management and Marketing

31
Opinions on importance of the curriculum for Arts Management and Marketing were
collected from stakeholders with tha sake to justify importance of the curriculum as
illustrated in table 10.

Perception on the Importance of Arts Management and Marketing Course Frequency Percent
To prepare competent art managers to manage supervise and develop artwork 7 15%
Youth should be prepared on arts management and marketing 7 15%
Art management will improve Tanzania art business within and outside the 5 11%
country
Expand management skills on art sector 4 9%
The course shall improve scope of employment for income generation 4 9%
To enable artists produce good quality art products for better market 3 6%
To ensure availability of competent cultural heritage and tourism experts to 3 6%
manage, conserve antiquites for promotion of tourism in the country
Better understandin in market research for art products for more income 2 4%
To manage, protect, promote, conserve relic and cultural hertage for next 2 4%
generations
To promote internal market for art products for the benefit of local artists 2 4%
Because art is part of cultural heritage 1 2%
Build capacity to artists add value to artwork 1 2%
e.marketing 1 2%
Good art management will improve art and culture management scope 1 2%
The college need to provide skills in artist management arts supervision of 1 2%
artworks
To equip art markets skills for better management and marketing of art 1 2%
products
Will enable promotion of production within the country and international 1 2%
Will improve the importance of art and promote sakes 1 2%
Total 47 100%

5.5 Importance of the Curriculum in Cultural Heritage and Tourism

Opinions on importance of the curriculum for Cultural Heritage and Tourism were
collected from stakeholders with tha sake to justify importance of the curriculum as
shown in table 11.

Table 11: Importance of Cultural Heritage and Tourism Curriculum

Perception on the Importance of Cultural Heritage and Tourism Course Frequency Percent
Address shortage of cultural hertage 2 4%
Due to increase of tourist there is need to have expert on cultural heritage and 1 2%
tourism
Improve cultural heritage education and training to meat the requirement of the 9 19%
labour market
The sector is important to the economy as is one of source of foreign currency 2 4%
To build competency in culture and tourism 1 2%
To equip youths with adequate skills on culture and tourism 7 15%
To get competent human resource in cultural heritage and tourism development 4 9%
To increase income from tourism 5 11%
To manage and conserve our cultural heritage for better 1 2%

32
 Perception on the Importance of Cultural Heritage and Tourism Course Frequency Percent
To prepare experts understand and publicize tourist potential 1 2%

To promote cultural heritage management for development of tourism 7 15%

To protect and promote cultural heritage and tourism for future generation 6 13%
To publicize tourist attraction within and outside Tanzania 1 2%
Total 47 100%

5.6 Proposed Technical, Business and Behavioral Skills In Arts Management

The situation analysis also aimed at identifying technical, business and behavioral skills
required in both Arts Management and Tourism as well as in Cultural Heritage and
Tourism.
5.6.1 Proposed Technical skills in Arts Management and Marketing
Technical skills are the abilities and knowledge needed to perfom specific tasks.
Technical skills are those that use specialized knowledge to perform a task effectiently.
Our questionarre highlighted a number of technical skills that an Art Management and
Marketing graduate should possess. The following are technical skills in cultural
heritage and tourism as suggested to be required by the labour market.
Table 12: Technical and Business Skills Required in Arts Management and Marketing
Programmes
Technical Skills gaps in Arts Management and Marketing
Frequency Percent
Competencies in art management skills and marketing 6 11%
Innovation 3 5%
Skills in market research and identification 3 5%
Skills in marketing research and identification 3 5%
Marketing surveying and research 2 4%
Networking 2 4%
Art marketing 1 2%
Communication skills 1 2%
Competence in art 1 2%
Conduct market research of out products 1 2%
Few number of art management 1 2%
Few people have managerial skills in arts 1 2%
Improve innovation in income 1 2%
Innovation in arts 1 2%
Production of poor and substandard artwork 1 2%
Skills in arts in general 1 2%
Skills in market reserch and identification 1 2%
Skills in marketing 1 2%
Skills on production of art equipment 1 2%
Techniques of marketing artwork 1 2%
The art market within and outside Tanzania 1 2%
Use of ICT in art, marketing products using ICT 1 2%

33
 Use of ICT in arts management and marketing 1 2%
Art and business 1 2%
Artwork information 1 2%
Branding of art products 1 2%
Enterpreneurship education 1 2%
Entrepreneurship education in art 1 2%
Entrepreneurship skills, marketing, promotion of art products 1 2%
Entreprenuership skills to artists 1 2%
Ethics attitude of artists 1 2%
Information on markets and market research 1 2%
Innovation in entreprenuership in artwork 1 2%
Innovation of artwork 1 2%
Lack of art business opportunities 1 2%
Lack of skills in entrepreneurship in artwork 1 2%
Low payment and salaries 1 2%
Market research for art products 1 2%
Most artists lacks skills in contract management 1 2%
Produce art product at the required standard 1 2%
Promoting artwork and products into business 1 2%
Seeking capital for artwork 1 2%
Sources of capital for artwork 1 2%
Total 56 100%

5.6.2 Proposed Technical skills in Cultural Heritage and Tourism

The following are the technical skills as suggested in Cultural heritage and tourism
programmes as shown in table 13.
Table 13: Technical Skills in Cultural Heritage and tourism
Technical Skills gaps in Cultural Heritage and Tourism Frequency Percent
Management skills in cultural heritage and tourism 4 14%
Archaelogy and authropology as well as heritage and 1 3%
introduction to tourism studies
Failure to conserve our culture and publicize tourism 1 3%
attractions
Importance of up keeping monuments 1 3%
Improve industries to produce more cultural works 1 3%
Involvement of the community and private sector 1 3%
Lack of ethics on consrvation of culture heritage 1 3%
Media roles in promotion of culture and tourism 1 3%
Most tourists attractions not interpreted and publicized 1 3%
Practical training of cultural and tourism events 1 3%
Skills in cultural heritage, skills in tourism 1 3%
Skills in tourism marketing 1 3%
Building awareness on Cultural Heritage and Tourism among 1 3%
the Community
To promote market and sell markets from culture and tourism 1 3%
Use of ICT in cultural heritage and tourism promotion 1 3%
Will help the community conserve cultural hertage and tourist 1 3%
attractions

34
 Convincing skills 1 3%
Factors affecting promotion of income from tourism sector 1 3%
Handling customers for culture and tourism products 1 3%
Improve business between in and outside the country 1 3%
Lack of advertisement of tourism attraction 1 3%
Means of increasing profit from art business 1 3%
Promote market cultural heritage and tourist attractions 1 3%
Promoting cultural heritage into business 1 3%
Tour operations and travel agencies 1 3%
Using art to publicize culture 1 3%
Total 29 100%

5.6.3 Proposed Business Skills

Business skills are also very important in building competencies required in Arts
Management and Marketing professional. The following are the business skills as
suggested by stakeholders to be included in the Arts Magement and Marketing
programmes.
Table 14: Entreprenurship Skills required in Art Management and Marketing
Entrepreneurship skills Required N Percent
Innovation and entreprenuership in artwork 14 34%
Entrepreneurship skills, marketing, promotion of art 15%
6
products
Customer care services 5 12%
Promote market cultural heritage and tourist attractions 3 7%
Skills in marketing research and identification 3 7%
Customer care, laws and policies 2 5%
Use of ICT in art, marketing products using ICT 2 5%
Communication skills 1 2%
Advertisement of tourism attraction 1 2%
Means of increasing profit from art business 1 2%
Networking 1 2%
Improve business between in and outside the country 1 2%
The art market artwork within and outside Tanzania 1 2%
Total 41 100%

5.6.4 Proposed Behavioral Skills

Behavioural skills refer to the reflective ability of the individual in relation to the
characteristics of the situations he or she may come up against. This ability may be
organisational when the individual reacts in relation to the quality of his or her work,
e.g. prioritising, anticipating, checking, etc.), social or interpersonal, when the person
reacts to others and establishes relationships, e.g. negotiating, discussing, cooperating,
etc.), or emotional and psychological (when the individual reacts to him or herself and
his or her own limits, e.g.: adapting, taking training, etc.).

35
The following are the behavioral skills required in Cultural Heritage and Tourism
programmes
Table 15: Behavioral Skills in Cultural Heritage and Tourism as Suggested by
Stakeholders

Behavioral Skills gaps in Cultural Heritage and Tourism

N Percent
Fighting Corruption in culture and tourism and lack of 19%
6
cultural ethics and honesty
Cumption and lack of honesty 4 13%
Enterpreneurship skills in cultural heritage and tourism 4 13%
Promote conservation attitude for sustainable heritage 13%
4
management
Ethics attitude of artists 3 9%
Good attitude, ethics on art products 2 6%
Ethics in culture and tourism sector 1 3%
Factors affecting promotion of income from tourism sector 1 3%
Handling customers for culture and tourism products 1 3%
Improving cultural heritage skills 1 3%
Behavioral skills on production of art equipment 1 3%
Techniques of marketing artwork behaviour 1 3%
To promote nation hood among young Tanzania 1 3%
Tour operations and travel agencies 1 3%
Using art to publicize culture 1 3%
Total 32 100%

5.7 Prospects for Expansion of the Art and Culture Sector

Findings reveals that the Art and Culture sector is rather expanding as shown in figure
5. 66% of respondents said that the sector is expanding whle 30% said the sector is not
expanding. The results generally concludes that the sector is expanding.

66%
60%

40% 30%

20%
4%
0%
Yes No Not stated
Figure 5: Response on Prospects for Expansion of the Art and Culture Sector

The results in the figure above indicates that there is need for skills enhancement in
the sector since there is expansion prospects.
5.8 Prefered Arts Management and Marketing Skills to be Included in the
Curriculum

Employers, professionals and societies and associations were asked to provide their
views on competencies and skills needs of Ordinary Diploma in Arts and Culture from
36
TASUBA. General response from all categories of respondents indicates majority (74%)
agrees that Ordinary Diploma in Arts and Culture graduates are competent with enough
skills, able to apply their skills and knowledge effectively, also realize benefits of
working as permanent employees in today’s life and also meet the expectations of
stakeholders.
5.9 Kind of training Proposed for workers in Cultural institution?
The areas where the participants suggest the most pressing need are:
• Environmental control and stability of collections
• Paper stability and document repair
• Accelerated development of technologies for recording, storing, and retrieval of
records
• preservation challenges in the digital age;
• the expanding nature of preservation and conservation responsibilities;
• digital preservation issues
• funding, policy, and support for preservation;
• conservation treatment skills;
• high-priority content for preservation education;
• Preservation tools
• Preservation and data management planning
• Strategic planning and policies
• Technical Systems
• Trusted repositories
• diversity in the conservation and preservation professions
5.10 Areas the training programme to cover?
The training programmes available for workers and non workers (pre-service students in
Tanzanian heritage institutions cover the following aspects:
• Management of cultural heritage resources under tropical climate
• Treatment of insects and other organisms that cause the disintegration of heritage
materials
• General management
• Research
• Functional tasks in digital preservation/curatorial work
• Workflow planning for cultural heritage preservation
• Capacity building of technical personnel

37
• Adoption and use of modern technology
• Administration and finances
• Legal aspects

5.11 Training methods proposed considered to be the most suitable for our
institution
With regard to suitable training method, the training methods proposed to be
considered most suitable for the institution are:
• Small group workshops
• Written manuals
• Supervised one-to-one training by a senior staff member
• Online training
• Large group workshop (lectures and practical exercises)

5.12 Challenges in Arts and Culture that TASUBA Needs to Addresses on

Establishment of the Arts Management and Marketing and Cultural Heritage
and Tourism

Respondents raised their concerns as challenges to TASUBA to address some issues if

the Institution wants to establish new programmes. Some the concerns are that TASUBA
is responsible to sensitize the community on importance of art to the society; TASUBA
needs to ellaborates with artists by providing tailor made course; TASUBA should
continue provide opportunity to art groups especially traditional ngoma troupes and
traditional music from various tribes; TASUBA should improve new arts talents and that
the Institution should provide training opportunity to learn more skills in art and
participate in art and cultural events organized by TASUBA. Details on the challenges
are in appendix 4.

38
5.0 CONCLUSION AND RECOMMENDATIONS
In conclusion, the results of the research suggest demands for training in Arts
Management and Marketing and Cultural Heritage and Tourism. Heritage preservation
that arises from a severe lack of qualified staff in the field. The findings revealed a
broad spectrum of skills and competences relevant for staff involved in preservation of
cultural heritage in Tanzania. When designing training, this diversity as well as the
integration of practical application and the suitability of the format for working staff
should be taken into consideration. The government, as a matter of urgency, needs to
formulate and put in place a comprehensive national preservation and conservation
policy while taking cognizance of the peculiarity of each heritage institution. Heritage
preservation should be well funded to ensure improvement in the facilities and
equipment available for training of workers in heritage preservation. The time is ripe
for the setting up of well-equipped conservation laboratories where heritage workers
can have hands-on experience in heritage preservation.

39
6.0 REFERENCES
1. Leye, V. (2007). UNESCO, ICT corporations and the passion of ICT for development:
modernization resurrected. Media, Culture & Society, 29(6), 972-993

2. Mbughuni, L.A (1974): The Cultural Policy of the United Republic of Tanzania, The
UNESCO Press, Paris, Studies and Documents on Cultural Policies.

3. Ministry of Finance and Economic Affairs (2010): National Strategy for Growth and
Reduction of Poverty II (NSGRPII), Government Press, Dar es Salaam.

4. Ministry of Justice and Constitutional Affairs, (1997), National Council for Technical
Education Parliamentary Act No.9 of 1997, Government Press, Dar es Salaam.

5. Ministry of Planning and Privatization, (2000), the Tanzania Development Vision

2025, Government Press. Dar es Salaam.

6. Ministry of Labour, Youths and Sports, (1999.), Tanzania Standards for Classification
of Occupation (TASCO), Government Press, Dar es Salaam.

7. National Strategy for growth and reduction of Poverty (NSGRP) – Vice President’s
Office- June 2005.
8. National Council for Technical Education (2010), NACTE Qualification Standards,
Government Press, Dar es Salaam.
9. National Council for Technical Education (2010), Procedures for Curricullum
Devellopment and Review;
10.UNESCO (2000), Manual for Tourism Management in Heritage Cities and towns in
Asia for Local Government and Community Stakeholders, Norwood, McDougall &
Vines;
11.Vasco Monteiro, Marco Painho and Eric Vaz (2014): Is the heritage really important?
A theoretical framework for heritage reputation using citizen sensing, Habitat
International, Geneva.

40
APPENDICES
Appendix 1: List of Respondents, Location and Their Activities
Sn Name of Respondent
Kaole Mamba Ranch
1 Bagamoyo
Bagamoyo
2 RAS Art, Bagamoyo
3 Mwongozo Sanaa Group
4 Najeza culture group
Kaole Mamba Ranch
5 Kaole
Bagamoyo
6 Chivane Culture Group
7 Producer MJ
8 Mile Edward
9 Shey B Manyota
10 National Museums
11 Yuzo Manager
12 Ismail Kambangu
13 Jivunie Tanzania Sanaa Group
14 Kaole Mamba Ranch
Kaole Mamba Ranch
15
Bagamoyo
16 Kaole Mamba Ranch
17 Kaole Mamba Ranch
18 Kaole Mamba Ranch
19 Kaole Mamba Ranch
20 Kaole Mamba Ranch
21 National Museums
22 Joseph Thaura
23 Africa la Luna
24 National museum
25 Kaole Eco tourism
Location Activity
Crocodile farming
Bagamoyo Fine Art and Craft work
Bagamoyo Fine Art and Craft work
Music, traditional Drumming
Bagamoyo
and Performing Art
Crocodile farming
Music, traditional Drumming
Bagamoyo
and Performing Art
Music, traditional Drumming
Bagamoyo
and Performing Art
Music, traditional Drumming
Bunju
and Performing Art
Music, traditional Drumming
Bagamoyo
and Performing Art
Shaaban
Robert, Dar es Conservation of antiquities
Salaam
Dar es Salaam Fine Art and Craft work
Dar es Salaam Fine Art and Craft work
Music, traditional Drumming
Dar es Salaam
and Performing Art
Kaole Crocodile farming
Kaole Crocodile farming
Kaole Crocodile farming
Kaole Crocodile farming
Kaole Crocodile farming
Kaole Crocodile farming
Kaole Crocodile farming
Shaaban
Robert, Dar es Conservation of antiquities
Salaam
Music, traditional Drumming
Bagamoyo
and Performing Art
Music, traditional Drumming
Dar es Salaam
and Performing Art
Shaaban
Robert, Dar es Conservation of antiquities
Salaam
Bagamoyo Cultural heritage and tourism
41
Sn Name of Respondent Location Activity
Music, traditional Drumming
26 Ibrahim Mohammed Bagamoyo
and Performing Art
Music, traditional Drumming
27 Hancy Daty Bagamoyo
and Performing Art
28 Swahili Apple Films Bagamoyo Bagamoyo Drama and Filming
29 Kaole ruins- TFS Kaole Conservation of antiquities
30 Buretta Bagamoyo Conservation of antiquities
Music, traditional Drumming
31 The spirit Band Dar es Salaam
and Performing Art
Caravan sera/ Bagamoyo
32 Bagamoyo Conservation of antiquities
Museum
Music, traditional Drumming
33 Mautam Bagamoyo
and Performing Art
34 Allen Urio KIbaha Pottery
35 Mamba Ranch Kaole Tour guiding
36 Msaki Conservation Dar es Salaam Conservation of antiquities
37 Taasisi Tourguiding Dar es Salaam Tour guiding
38 Tourguide Group Dar es Salaam Tour guiding
Music, traditional Drumming
39 Melyoni Ndahani Bagamoyo
and Performing Art
40 Leonard S Mayunga Bagamoyo Snake park
41 Kaole snake park and leisure Kaole Snake park
Music, traditional Drumming
42 CD4 Music Group Bagamoyo
and Performing Art
Music, traditional Drumming
43 Manjole daddy Bagamoyo
and Performing Art
44 Kalole Travels Kaole Tour guiding
45 Kaole Travel and Eco- tourism Bagamoyo Cultural heritage and tourism
46 Kaole Travel and Eco- tourism Bagamoyo Cultural heritage and tourism
Music, traditional Drumming
47 Diaz Man Bagamoyo
and Performing Art

Appendix 2: Criteria Used in Recruitment of Arts Staff

Na Name of Main Activity Academic Skills Daraja la Sifa za ziada
Respondent Qualification ujuzi/Uzoefu
s
Kaole Mamba
Crodile farming Form IV Courage
1 Ranch
Kaole Mamba Education on
Form IV Courage
2 Ranch Crocodile
Kaole Mamba Production of
Form IV Courage
3 Ranch Crocodile
4 Ras art Curving Certificate Discipline
5 Ras art Fine art Certificate Discipline
6 Ras art Kniting Certificate Discipline
7 Ras art Performing art Certificate Discipline
Mwongozo
8 sanaa Curving Certificate Curving
Mwongozo
9 sanaa Fine art Certificate Drawing

42
Na Name of Main Activity Academic Skills Daraja la Sifa za ziada
Respondent Qualification ujuzi/Uzoefu
s
Najeza Skills in
10 culture group Dancers Skills dancing drumming
Najeza Skills in
11 culture group Drummer drumming Skills in dancing
Kaole Mamba
12 Ranch Crodile farming Form IV Bravery
Kaole Mamba Education on
13 Ranch Crocodile Form IV Bravery
Kaole Mamba
14 Ranch Reproduction Form IV Bravery
Chivane
15 culture group Assistant director Form IV Art Skills in art
Chivane Skills in
16 culture group Artists Form IV drumming Skills
Skills in art
17 Projuder MJ Artist manager Form IV Art management
18 Mile Edward Musician Any Any Skills in singing
Shey B
19 Manyota Singing Composing Innovation
National
20 Museums Applied arts Certificate Innovation
National
21 Museums Performing art Certificate Innovation
National Tailor made
22 Museums Art conservation Degree 1 courses
National Tailor made
23 Museums Art Exhibition Degree 1 courses
National Tailor made
24 Museums Art management Degree 1 courses
Management Experience in
25 Yuzo manager Manager Form IV skills management Language skills
Singing and Ability to sing in
26 Yuzo manager Artists Any innovation Composing songs big
Ismail Commitment
27 Kambangu Artists Any to work Innovation
Jivunie
Tanzania
28 sanaa group Drumming Any Dancing Innovation
Jivunie
Tanzania Singing and
29 sanaa group Musics Any innovation Innovation
Kaole Mamba
30 Ranch Crodile farming Form IV Commitments
Provide
Kaole Mamba education on
31 Ranch crocodile Form IV Commitments
Kaole Mamba Reproduction of
32 Ranch crocodile Form IV Commitments
Kaole Mamba
33 Ranch Crodile farming Form IV Commitments
Kaole Mamba Education on
34 Ranch Crocodile Form IV Commitments
Kaole Mamba Crocodile
35 Ranch reproduction Form IV Commitments
Kaole Mamba
36 Ranch Crocodile farming Form IV Commitments
Kaole Mamba Education on
37 Ranch Crocodile Form IV Commitments
Kaole Mamba Reproduction of
38 Ranch crocodile Form IV Commitments
39 Kaole Mamba Crocodile farming Form IV Commitments

43
Na Name of Main Activity Academic Skills Daraja la Sifa za ziada
Respondent Qualification ujuzi/Uzoefu
s
Ranch
Kaole Mamba Education on
40 Ranch Crocodile Form IV Commitments
Kaole Mamba Reproduction of
41 Ranch crocodile Form IV Commitments
Kaole Mamba
42 Ranch Crocodile farming Form IV Commitments
Kaole Mamba Education on
43 Ranch Crocodile Form IV Commitments
Kaole Mamba Reproduction of
44 Ranch crocodile Form IV Commitments
Kaole Mamba
45 Ranch Crocodile farming Form IV Commitments
Kaole Mamba Education on
46 Ranch Crocodile Form IV Commitments
Kaole Mamba Reproduction of
47 Ranch crocodile Form IV Commitments
National Tailor made
48 Museums Applied arts Certificate Innovation courses
National Tailor made
49 Museums Performing art Certificate Innovation courses
National Tailor made
50 Museums Art conservation Degree Innovation courses
National Tailor made
51 Museums Performing art Degree Innovation courses
National Tailor made
52 Museums Art management Degree Innovation courses
Singing and
53 Joseph Thaura Music Form IV innovation Diploma Discipline
54 Joseph Thaura Producers Form IV Art product Diploma Discipline
55 Joseph Thaura Dancers Form IV Dancing Certificate Discipline
56 Joseph Thaura Acting Form IV Acting Innovation
57 Africa la Luna Dancing Form IV Dancing Certificate Discipline
58 Africa la Luna Singing Diploma Singing Certificate Innovation
59 Africa la Luna Acting Form IV Acting Certificate Innovation
National
60 Museums Art management Innovation
National
61 Museums Art conservation Innovation
National
62 Museums Performing art Innovation
Kalole eco Attending
63 tourism Tour guide Form IV training Certificate Language skills
Ibrahim
64 Mohammed Musics Form IV Instumment Certificate Discipline
Ibrahim
65 Mohammed Dancing Form IV Dancing Certificate Discipline
Ibrahim
66 Mohammed Singing Form IV Singing Certificate Discipline
The spirit Instrummentio
67 Band Music Certificate n Certificate Discipline
The spirit
68 Band Singing Certificate Singing Certificate Discipline
The spirit
69 Band Dancing Form IV Dancing Certificate Discipline
Cultural
Bagamoyo heritage
70 museum Conservators Degree management
71 Mautam Music Certificate Instruments Experience in Innovation

44
Na Name of Main Activity Academic Skills Daraja la Sifa za ziada
Respondent Qualification ujuzi/Uzoefu
s
exhibitions
72 Allen Urio Pottery Form IV Pottery Certificate Innovation
73 Mamba ranch Welding Form IV Culture Trustful
Conservators of
74 Msaki antiquites Degree Language skills
Tourism Certificate
75 Tasisi management and diploma Hard work Experience Customer care
Tour guide
76 group Tour guide Certificate Language skills
Melyon
77 Ndahani Tour guide
Leonard S
78 Mayunga Snake exhibitions Form IV Tour guide Certificate
Kaole snake Fresh from
79 park Tour guide Certificate Wildlife school Language skills
Knowledge in
80 CD4 Music Singers Any composing Any Be better in art
81 Manjole daddy Singer Form IV Composing Singing Perform better
Kalole eco
82 tourism Tour guide Form IV Tour guide
Kalole eco 2 Year
83 tourism Tourism Form IV experience Ethics
84 Diaz man Music Short course

Appendix 3:Number of Staff in the Visited Arts and Culture Institutions

Art and Culture Institution Job Title Job Contract
Total
Permanent Temporary
Male Female Male Female Male Female
Joseph Thaura Acting 5 7 2 5 7 12
National Museums Art innovation 1 2 0 0
National Museums Art instruction 1 0 1
National Museums Art management 1 1 0
National Museums Art management 1 1 0
Yuzo Manager Fine Art 1 1 0
Projuder MJ Fine Art 1 1 0
Ismail kambangu Fine Art 1 8 6 8 7
Msaki Conservator of
3 3 0
antiquities
Kaole Mamba ranch Crocodile farming 3 3 0
Kaole Mamba Ranch Crocodile farming 3 3 0
Kaole Mamba Ranch Crocodile farming 3 3 0
Kaole Mamba Ranch Crocodile farming 3 3 0
Kaole Mamba Ranch Crocodile farming 3 3 0
Kaole Mamba Ranch Crocodile farming 3 3 0
Kaole Mamba Ranch Crocodile farming 3 3 0
Kaole Mamba Ranch Crocodile farming 3 3 0
Kaole Mamba Ranch Crodile farming 3 3 0
Mamba Ranch Culture 3 3 3 3
Buretta Curator 3 0 3
Ras Art Curving 3 3 0

45
 Art and Culture Institution Job Title Job Contract
Total
Permanent Temporary
Male Female Male Female Male Female
Mwongozo Sanaa Curving 0 4 0 4
Najeza Culture Group Dancing 4 4 4 4
Ibrahim Mohamed Dancing 3 7 4 9 6 16
Joseph Thaura Dancing 8 8 10 10 18 18
Africa la Luna Dancing 5 2 3 2 8 4
The Spirit Band Dancing 3 3 0
Najeza Culture Group Drumming 4 4 0
Jivunie Tanzania Sanaa Drumming
Group 1 8 6 8 7

Ras Art Fine art 2 2 0

Mwongozo Sanaa Fine art 2 3 0 5
National Museums Floor manager 1 1 0
National Museums Flour manager 1 1 0
Joseph Thaura Instrumentation 5 4 8 6 13 10
Ibrahim Mohamed Instrumentation 5 3 8 0
The Spirit Band Instrumentation 5 5 0
Ras Art Knitting 1 1 0
National Museums Light technician 1 1 0
National Museums Light technician 1 1 0
CD4 Music Music singing 0 0
Manjole Daddy Music singing 5 3 5 3
Ras Art Performing art 5 5 0
National Museums Performing
1 1 0
coordinator
Allen Urio Pottery 6 3 9 0
Ibrahim Mohamed Singers 5 3 7 2 12 5
Shey B Manyota Singing 1 1 0
Joseph Thaura Singing 2 2 4 4 6 6
Hancy Daty Singing 6 3 6 3
The Spirit Band Singing 5 5 0
National Museums Sound technician 1 1 0
National Museums Sound technician 1 1 0
Kalole Eco tourism Tour guide 0 0
Buretta Tour guide 1 0 1
Taasisi Tour Guide Group Tour guide 1 1 1 0
Tour Guide group Tour guide 1 1 0
Kalole Eco tourism Tour guide 1 2 1 2 2
Sub Total 121 57 78 58 199 115
Total 178 136 314
Percent 57% 43%

Appendix 4: Challenges That TASUBA can address

46
Challenges that TASUBA can address
Frequency Percent
Torism skills should be imparted in Cultural heritage curriculum 11 21%
Art management skills will build awareness to artists to understand their rights 1 2%
Artist should be capacitated in contract and contract management 1 2%
Cultural exhibiting 1 2%
Fine arts 1 2%
Improve artwork and performance of artists through training 1 2%
In promotion art and culture 1 2%
Innovation and talent identification 1 2%
Involvement of different people in protection of natural and cultural heritage 1 2%
Management skills to art groups will enable artists get good income. 1 2%
More market research an artwork needed as in village there are many art works but not 1 2%
reached
Parent and stakeholder would like to see TASUBA cooperate with other institutions 1 2%
Performing art 1 2%
Performing art in culture and tourism 1 2%
Promoting marketing 1 2%
Promotion of tourism through conservation 1 2%
Skills in cultural heritage 1 2%
Skills in market techniques of artwork and products 1 2%
Skills upgrading in art and culture 1 2%
Staff training 1 2%
TASUBA is responsible to sensitize the community on importance of art to the society 1 2%
TASUBA needs to ellaborates with artists by providing tailor made course 1 2%
TASUBA should continue provide opportunity to art groups especially traditional ngoma 1 2%
troupes and traditional music from various tribes
TASUBA should improve new arts talents 1 2%
TASUBA should pay artist during arts exhibitions 1 2%
TASUBA should prepare training to Bagamoyo musicians in so as to improve their artwork. 1 2%
TASUBA student and graduates should be active in promoting cultural tourism and 1 2%
exhibiting events.
TASUBA to establish a training programmes on rennovation of moments archaelogical sites 1 2%
and building
Training opportunity to learn more skills in art and participate in art and cultural events 1 2%
organized by TASUBA
Art innovation 1 2%
Branding 1 2%
History 1 2%
Innovation in art 1 2%
Management of artwork 1 2%
Markets for tourism service 1 2%
Provide training to art and culture instructors 1 2%
Art business and marketing 1 2%
Art business such as traditional drumming and music 1 2%
Cultural heritage management 1 2%
Exhibition of performing art and art conservation 1 2%
Performing art and art conservation 1 2%

47
Research in Arts, tourism and marketing 1 2%
Total 52 100%

48