The winds of change that have blown through the SABC seem to have bypassed the commissioning department, writes Ferial Haffajee
It is 1976 and television has just hit our shores. The Broederbond has decreed that it be a totally bilingual operation. But the problem is there is nary an Afrikaans producer in sight.
The commissioning editors – glorified clerks with new titles and no skills – scramble to fill air time.
A local producer (who, for fear of losing SABC contracts, insists on anonymity) paints a picture of the way things used to be: “O God! Wat gaan ons nou opsit?” (Oh God, what are we going to put on air?), they must have asked themselves. “If they wanted an environmental programme, they just called up their cousins who liked the bush, gave them a camera and they became producers,” he says. A bit of an exaggerated example perhaps, but a pretty accurate history of a television commissioning system born of ineptitude and nepotism.
Commissioning editors gave the work to favoured producers and so the Broeder connection was established throughout the nascent television production industry. In the Eighties, a formal association of production houses/producers (including INTV, Pro- Five, Fanie van der Merwe, JP Niemand) with links to the best Afrikaner families, got the biggest contracts.
The SABC was and remains the industry’s major source of local work. But the winds of transformation which have blown fast and hard through the corridors of Auckland Park seem to have missed this vital part of the broadcaster’s work. What has changed instead is that a parallel layer of about 20 commissioning editors – mostly black – has been put in place alongside the old kings of the castle. And, apart from a few notable exceptions, the rot has been replicated.
Producers decry the fact that once again, the wife of this executive and the sister of that editor are being given contracts with few qualifications and little explanation of how decisions are made. “They’re all giving their buddies work. It’s exactly the same situation as the old days,” says another producer who cannot be named. Yet another adds: “If [former chief executive] Zwelakhe Sisulu or [television division head] Molefe Mokgatle requests a programme, it’s commissioned straight away, regardless of production costs.”
This is the bigger picture which has allowed the wastage of millions on the ill-fated series, Avenues (the commissioning editor’s wife stars in the programme and had a hand in the scripting and casting) and raised questions about the granting of the contract for breakfast television to Urban Brew.
When the Mail & Guardian two weeks ago reported about the granting of that tender, responses came thick and fast.
The allegations of corruption were made again and again, by nervous insiders and by angry outside producers. “We all know that you’ve got to pay to get a contract,” says one producer, adding: “I’ll do it. It’s my livelihood.”
When pressed, they allege that such payments take many forms. “It’s paid in casino chips because they can’t be traced.” Other times it can be a ticket to somewhere exotic or a favourite bottle of wine.
There’s a clearly a difference between a polite thank-you gesture and a back- hander. Not every box of chocolates or friendly business lunch can be construed as corruption. International airtickets are, however, in a different league.
In an industry where gossip and the grapevine are ubiquitous, those with sour grapes must be distinguished from the justifiably aggrieved. But, judging by the number of producers complaining about the problem, all this smoke must be leading to a fire.
The Independent Producers Organisation (IPO) has long argued that the graft at the SABC must be stopped. It charges that the “Old boys club of white producers is still in place.” And it recommends that: “Each commissioning editor must divest themselves of any financial and legal involvement in any and all production companies they might be involved in, hold shares in or receive remuneration from and declare any other conflict of interest and divest themselves thereof.”
The industry’s hopes are that the new Mr Clean can sort out the problem. He is Mandla Langa, the SABC’s new programme director who comes with the political clout needed to fumigate the SABC.
Former incumbent Melanie Chait left the SABC mid-way through trying to set in place new ways of commissioning. She lacked the authority – the back-up and industry support – to push through changes.
The quietly powerful Langa says he will kick-start negotiations with the production industry and “put in place a new set of procedures”.
Then he will start work on the crucial layer of commissioning editors by giving them briefs and job descriptions.
Langa will be assisted by a unit which will keep tabs on commissioning procedures and take a second look at script-reading, previewing and development at the SABC.
The unit will also help new talent to develop their material and get their work on air through their Dramatic Encounters scheme.
Says Langa: “We want to develop local content with an international edge. We’re striving for perfection.”