Art investment in South Africa: portfolio diversification and art market efficiency
- Botha, Ferdi, Snowball, Jeanette D, Scott, Brett
- Authors: Botha, Ferdi , Snowball, Jeanette D , Scott, Brett
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/64794 , vital:28601 , http://www.dx.doi.org/10.17159/2222-3436/2016/v19n3a4
- Description: Art has been suggested as a good way to diversify investment portfolios during times of financial uncertainty. The argument is that art exhibits different risk and return characteristics to conventional investments in other asset classes. The new Citadel art price index offered the opportunity to test this theory in the South African context. Moreover, this paper tests whether art prices are efficient. The Citadel index uses the hedonic regression method with observations drawn from the top 100, 50 and 20 artists by sales volume, giving approximately 29 503 total auction observations. The Index consists of quarterly data from the period 2000Q1 to 2013Q3. A vector autoregression of the art price index, Johannesburg stock exchange all-share index, house price index, and South African government bond index were used. Results show that, when there are increased returns on the stock market in a preceding period and wealth increases, there is a change in the Citadel art price index in the same direction. No significant difference was found between the house price index and the art price index, or between the art and government bond price indices. The art market is also found to be inefficient, thereby exacerbating the risk of investing in art. Overall, the South African art market does not offer the opportunity to diversify portfolios dominated by either property, bonds, or shares.
- Full Text:
- Authors: Botha, Ferdi , Snowball, Jeanette D , Scott, Brett
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/64794 , vital:28601 , http://www.dx.doi.org/10.17159/2222-3436/2016/v19n3a4
- Description: Art has been suggested as a good way to diversify investment portfolios during times of financial uncertainty. The argument is that art exhibits different risk and return characteristics to conventional investments in other asset classes. The new Citadel art price index offered the opportunity to test this theory in the South African context. Moreover, this paper tests whether art prices are efficient. The Citadel index uses the hedonic regression method with observations drawn from the top 100, 50 and 20 artists by sales volume, giving approximately 29 503 total auction observations. The Index consists of quarterly data from the period 2000Q1 to 2013Q3. A vector autoregression of the art price index, Johannesburg stock exchange all-share index, house price index, and South African government bond index were used. Results show that, when there are increased returns on the stock market in a preceding period and wealth increases, there is a change in the Citadel art price index in the same direction. No significant difference was found between the house price index and the art price index, or between the art and government bond price indices. The art market is also found to be inefficient, thereby exacerbating the risk of investing in art. Overall, the South African art market does not offer the opportunity to diversify portfolios dominated by either property, bonds, or shares.
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Employment and diversity in the cultural and creative industries in South Africa: research note
- Authors: Snowball, Jeanette D
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/71493 , vital:29858 , https://hdl.handle.net/10520/EJC188591
- Description: The publication of Richard Florida's (2002) The Rise of the Creative Class marked a growing international interest in the creative economy. There are several ways of understanding the creative economy, often divided into the cultural and creative industries. Cultural industries are those whose major outputs have some symbolic value, such as fine arts, film and craft, jewelry design, publishing and fashion. Creative industries are defined more broadly as those that have knowledge as their major input. In addition to cultural goods and services, these include things like software design and internet services. UNESCO (2009) provides guidelines for defining the cultural and creative industries and the ways in which they can be measured, but there is currently no international consensus. Nor is there likely to be, since different countries will have very different levels of involvement and focus that may shape what information is useful, for example, for shaping policy.
- Full Text: false
- Authors: Snowball, Jeanette D
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/71493 , vital:29858 , https://hdl.handle.net/10520/EJC188591
- Description: The publication of Richard Florida's (2002) The Rise of the Creative Class marked a growing international interest in the creative economy. There are several ways of understanding the creative economy, often divided into the cultural and creative industries. Cultural industries are those whose major outputs have some symbolic value, such as fine arts, film and craft, jewelry design, publishing and fashion. Creative industries are defined more broadly as those that have knowledge as their major input. In addition to cultural goods and services, these include things like software design and internet services. UNESCO (2009) provides guidelines for defining the cultural and creative industries and the ways in which they can be measured, but there is currently no international consensus. Nor is there likely to be, since different countries will have very different levels of involvement and focus that may shape what information is useful, for example, for shaping policy.
- Full Text: false
Festival fringe production and the long tail
- Authors: Snowball, Jeanette D
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/68855 , vital:29332 , http://www.econrsa.org/node/1170
- Description: Publisher version , In the past 15 years, there has been a worldwide proliferation of arts festivals, including so-called "fringe" festivals, which encouraged more experimental and avant-garde productions. While fringe festival productions had the potential to generate significant income for producers, their aims were primarily related to artistic innovation and it is well known that putting on a fringe show is highly unlikely to provide financial gain for most producers. This is what is referred to in statistics and marketing as a "long tail" distribution, in which a minority of producers in a particular market earn the vast majority of industry income. However, for individual producers of live theatre, such a distribution represents high risks and potentially large financial losses. This article uses producer data from two different fringe festivals in South Africa to explore determinants of ticket sales and box-office income. Included in the analysis is a consideration of the impact of genre and pricing strategies on the probability (Logit model) of shows being in the top 10%, 30% and 50% of best-selling and earning productions. Results support the long tail hypothesis.
- Full Text:
- Authors: Snowball, Jeanette D
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/68855 , vital:29332 , http://www.econrsa.org/node/1170
- Description: Publisher version , In the past 15 years, there has been a worldwide proliferation of arts festivals, including so-called "fringe" festivals, which encouraged more experimental and avant-garde productions. While fringe festival productions had the potential to generate significant income for producers, their aims were primarily related to artistic innovation and it is well known that putting on a fringe show is highly unlikely to provide financial gain for most producers. This is what is referred to in statistics and marketing as a "long tail" distribution, in which a minority of producers in a particular market earn the vast majority of industry income. However, for individual producers of live theatre, such a distribution represents high risks and potentially large financial losses. This article uses producer data from two different fringe festivals in South Africa to explore determinants of ticket sales and box-office income. Included in the analysis is a consideration of the impact of genre and pricing strategies on the probability (Logit model) of shows being in the top 10%, 30% and 50% of best-selling and earning productions. Results support the long tail hypothesis.
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Film production incentives, employment transformation and domestic expenditure in South Africa: visualizing subsidy effectiveness
- Collins, Alan, Ishizaka, Alessio, Snowball, Jeanette D
- Authors: Collins, Alan , Ishizaka, Alessio , Snowball, Jeanette D
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/67456 , vital:29094 , https://doi.org/10.1080/10286632.2016.1255206
- Description: Publisher version , In 2004 the South African Department of Trade and Industry (DTI) introduced a Film and Television Production Rebate Programme. In order to qualify for the rebate, certain criteria have to be met including success in job creation and skills development within the industry, alongside a particular focus on the percentage of ‘historically disadvantaged individuals’ employed. This study sets out the issues associated with evaluating success in meeting these various criteria and is, to the best of our knowledge, the first study to apply multi-criteria visualization techniques to inform the evaluation of public subsidy effectiveness. The ‘PROMETHEE’ method is applied and apart from presenting project performance in a visually intuitive manner, the approach helps to clarify patterns of relative success, show where policy objectives are competing, and to identify project exemplars for more efficiently guiding future public support in the sector.
- Full Text: false
- Authors: Collins, Alan , Ishizaka, Alessio , Snowball, Jeanette D
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/67456 , vital:29094 , https://doi.org/10.1080/10286632.2016.1255206
- Description: Publisher version , In 2004 the South African Department of Trade and Industry (DTI) introduced a Film and Television Production Rebate Programme. In order to qualify for the rebate, certain criteria have to be met including success in job creation and skills development within the industry, alongside a particular focus on the percentage of ‘historically disadvantaged individuals’ employed. This study sets out the issues associated with evaluating success in meeting these various criteria and is, to the best of our knowledge, the first study to apply multi-criteria visualization techniques to inform the evaluation of public subsidy effectiveness. The ‘PROMETHEE’ method is applied and apart from presenting project performance in a visually intuitive manner, the approach helps to clarify patterns of relative success, show where policy objectives are competing, and to identify project exemplars for more efficiently guiding future public support in the sector.
- Full Text: false
The effectiveness and impacts of subsidies to film industries
- Collins, Alan, Snowball, Jeanette D
- Authors: Collins, Alan , Snowball, Jeanette D
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/68511 , vital:29273 , https://www.southafricanculturalobservatory.org.za/
- Description: Publisher version , Conference paper presented at the South African Cultural Observatory, First National Conference: Counting Culture, The Cultural and Creative Industries in National and International Context, 16-17 May 2016, The Boardwalk International Convention Centre, Nelson Mandela Bay.
- Full Text:
- Authors: Collins, Alan , Snowball, Jeanette D
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/68511 , vital:29273 , https://www.southafricanculturalobservatory.org.za/
- Description: Publisher version , Conference paper presented at the South African Cultural Observatory, First National Conference: Counting Culture, The Cultural and Creative Industries in National and International Context, 16-17 May 2016, The Boardwalk International Convention Centre, Nelson Mandela Bay.
- Full Text:
Water footprint assessment of citrus production in South Africa: A case study of the Lower Sundays River Valley
- Munro, Samantha A, Fraser, Gavin C G, Snowball, Jeanette D, Pahlow, Markus
- Authors: Munro, Samantha A , Fraser, Gavin C G , Snowball, Jeanette D , Pahlow, Markus
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/69240 , vital:29463 , https://doi.org/10.1016/j.jclepro.2016.06.142
- Description: Water footprint assessment is a developing method that is being increasingly applied to quantify water use, prioritise reductions, assess sustainability and provide information to achieve sustainable, efficient, and equitable water use. The objectives of this paper were to conduct a water footprint assessment of primary citrus production within the Lower Sundays River Valley in South Africa using local, high-resolution data and to examine indicators (water scarcity, pollution, efficiency, productivity and access) to determine the sustainability of blue, green and grey water footprints of a wet, dry and average year. Lemons were found to have the lowest blue and combined green-blue water footprint per ton of production across all climatic years, followed by soft citrus, valencias and navels. Valencias had the lowest, and navels the highest grey WF (relating to inorganic nitrogen). Lemons, despite their high crop water and fertiliser requirements, were regarded more economically efficient in comparison to valencias, soft citrus and navels, in that they provided higher net income and more employment hours per m3 of water in comparison to other citrus crops. In an average season, lemons generated approximately 39% more income per m3 of water than navels, despite navels being the dominant cultivar. Blue water consumption for citrus in the catchment was calculated to be 58.7 Mm3 for an average season and 89.2 Mm3 for a dry season. Due to an inter-basin transfer scheme, no physical water scarcity occurred, and both environmental and basic human needs are met. Water pollution levels related to nitrogen however, exceeded the assimilative capacity of the run-off in dry years. The area also experiences institutional and infrastructural scarcity and 14% of the population do not have access to piped water. Stakeholders and governments may use the results of water footprint assessments to determine the status of river basins, make evaluations for future water usage and the potential impacts of expanding agriculture and different management strategies. Including environmental and socio-economic indicators will also improve the integrity of water footprint assessments.
- Full Text: false
- Authors: Munro, Samantha A , Fraser, Gavin C G , Snowball, Jeanette D , Pahlow, Markus
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/69240 , vital:29463 , https://doi.org/10.1016/j.jclepro.2016.06.142
- Description: Water footprint assessment is a developing method that is being increasingly applied to quantify water use, prioritise reductions, assess sustainability and provide information to achieve sustainable, efficient, and equitable water use. The objectives of this paper were to conduct a water footprint assessment of primary citrus production within the Lower Sundays River Valley in South Africa using local, high-resolution data and to examine indicators (water scarcity, pollution, efficiency, productivity and access) to determine the sustainability of blue, green and grey water footprints of a wet, dry and average year. Lemons were found to have the lowest blue and combined green-blue water footprint per ton of production across all climatic years, followed by soft citrus, valencias and navels. Valencias had the lowest, and navels the highest grey WF (relating to inorganic nitrogen). Lemons, despite their high crop water and fertiliser requirements, were regarded more economically efficient in comparison to valencias, soft citrus and navels, in that they provided higher net income and more employment hours per m3 of water in comparison to other citrus crops. In an average season, lemons generated approximately 39% more income per m3 of water than navels, despite navels being the dominant cultivar. Blue water consumption for citrus in the catchment was calculated to be 58.7 Mm3 for an average season and 89.2 Mm3 for a dry season. Due to an inter-basin transfer scheme, no physical water scarcity occurred, and both environmental and basic human needs are met. Water pollution levels related to nitrogen however, exceeded the assimilative capacity of the run-off in dry years. The area also experiences institutional and infrastructural scarcity and 14% of the population do not have access to piped water. Stakeholders and governments may use the results of water footprint assessments to determine the status of river basins, make evaluations for future water usage and the potential impacts of expanding agriculture and different management strategies. Including environmental and socio-economic indicators will also improve the integrity of water footprint assessments.
- Full Text: false
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