When the public talk about the Newtown Cultural precinct, they often refer to it as the Market Theatre Precinct, even though the area is a home to other institutions, such as museums and dance institutions. And one should not fault the people, as the Market Theatre is an iconic space with a rich history that is recognised both locally and internationally due to its role in the struggle for freedom for South Africa.
The Market Theatre Foundation is the legal entity that runs the four business units under it, namely the Market Theatre, Windybrow Arts Centre, Market Photo Workshop and Market Theatre Laboratory.
When Tshiamo rejoined the Market Theatre Foundation as Chief Executive Officer in 2020, it was a tough time in South Africa, and certainly globally. It was in the middle of a raging pandemic, which affected everyone’s social and economic life. The Covid-19 pandemic disrupted the running of especially arts programmes, as a result of the various lockdown periods the government implemented to minimise the chances of a rapid spread of infections.
“It was indeed a difficult time. However, I had to adapt to the situation quickly and get to work – especially when one considers the history and stature of the four business units individually and collectively forming the Market Theatre Foundation.”
The Foundation’s business units were all formed by leading luminaries and creative artistic figures, as part of the liberation and black education and empowerment movements.
“The Foundation’s units are contested spaces that have various interest groups who expect their interests to be catered for adequately, and rightly so. In the first instance, we have an older generation that have certain expectations from the four units informed by their various historical roles, particularly their artistic contribution to the struggle against apartheid,” says Tshiamo, elaborating, “In the second instance, we have a generation of 40 plus, my generation in a way, with varied disposable income, who do not look at the role of the four units necessarily through its struggle history lens, but through a balanced past and modernist eye of a post-apartheid South Africa. This generation expects them to put up plays, exhibitions and training programmes that speak of contemporary South Africa and the life, experiences and needs of now.”
Another layer, continues Tshiamo, is young people who put their hopes in the space she leads. According to her, this younger generation of supporters tends to be resolute and articulate, offering critical views about the country and how it’s reflected in programming, without neglecting their need for entertainment. All these dynamics have challenged her to be strategic in designing, leading and managing various constituencies, their needs and expectations.
True to an institution of the MTF’s size, there are systems in place to navigate turbulent times, ensure accountability and encourage synergy. When Tshiamo arrived at the Foundation, she found an Annual Performance Plan (APP) that was drawn up to direct what the entity needed to do to deliver on its mandate, objectives, targets and obligations. This plan is the guiding document and is the one that is used to assess the performance of the institution and is the one that the council is guided by as it reports to Parliament every financial year.
“My responsibility as CEO is to make sure that all the various units and the managers in charge of them meet the targets as guided by the strategy and the vision of the Market Theatre Foundation. With the raging pandemic and accompanying restrictions, most of our practices and programmes were disrupted necessitating for us to find new and/or different ways of delivering our work. And so, managing the interests and expectations of these various constituencies, took on a different form to what we had been accustomed to for the previous 44 years,” she relates.
“The APP guides the role we are to play in developing South African and African society as well as how our constituencies are to be serviced. This is where also, for example, appreciative of the finite resources we are entrusted with, our activities, outputs and associated impact and measures ensure that we remain focused on our north star and don’t engage in projects that are not part of the plan,” states Tshiamo, who is not new at the MTF, having worked first as a trainee administrator and later producer. She then left the institution to work briefly as an Arts Manager at the Durban Playhouse Company, and later at the South African State Theatre as a Production Manager, before having a full circle moment as she returned to MTF as CEO.
“I enjoyed the experience I got from the other institutions that I worked for before returning here. For example, at Durban Playhouse I learned a lot with regards to managing expectations of various constituencies, such as the traditional leadership, politicians and the arts community in that province,” she shares.
Tshiamo attended a convent school in Pretoria, one of a few crop of black learners who attended former Model C schools. After matric, she enrolled with Wits University, graduating with an Honours degree in Dramatic Arts. She also holds an MBA from the Henley Business School.