Report CopyRight/DMCA Form For : Part Economy Promoting A National Economy Driven By
From the Editor, hat Kenya has a vibrant creative sector with a long and distinctive history is in no doubt As part of the informal sector. which carries around 84 of the population we have come to identify it in various ways the moniker jua kali maybe. best expressing its multiple dimensions These function within a cultural context that is fluid in its embrace of the new. and also embedded in traditional ways of doing The absence of a facilitative policy framework has however meant that this. potentially vital sector has had to navigate and create a path for itself Sectorial stakeholders have variously worked towards. building this framework both before the enactment of and within the enabling statutes of the 2010 Constitution Part of. this thinking was shared at the Creative Economy Conference from 26th to 28th February 2015 convened by the Creative. Economy Working Group with the support of the Ford Foundation Advancing Public Media Program. The international community has increasingly recognized the pivotal role of culture in development Conversations within. UN agencies at other international and national fora have resulted in conceptualizing how this recognition of culture might. be translated into actions leading to sustainable social and economic development Concepts such as cultural industries. creative industries and creative economy have evolved over time as governments cultural and creative workers corporate. institutions and civil society seek to understand and operationalize the fundamental role of culture in human development. UNESCO the UN agency with a specific mandate for culture has a long history of involvement with cultural industries dating. back to the 19th General Conference of UNESCO in Nairobi 1976 It first commissioned studies on cultural industries in. preparation for European and international conferences Oslo 1976 and Mexico 1982 The Intergovernmental Conference. on Cultural Policies for Development was held in Stockholm 1998 inviting dialogue between the UN its Member States. various NGOs and business UNESCO soon published the first World Culture Report Culture Creativity and Markets. UNESCO 1998 With the adoption by the UNESCO General Conference in 2005 of the Convention on the Promotion and. Protection of the Diversity of Cultural Expressions endorsed by the UN General Assembly creativity creative enterprises. and cultural industries have become strategic drivers for human development Various countries have ratified this convention. At the regional level the East African Legislative Assembly EALA on August 25 in Kampala debated and passed the East. African Community EAC Cultural and Creative Industries Bill Stakeholders in the sector helped develop this Bill that seeks. to establish the Creative and Cultural lndustries Development Council This shall foster an environment conducive for the. enhancement and stimulation of creativity and innovation in the Community. At national levels there has been growing cognizance of the potential importance of the creative economy for growth and. for sustainable and equitable development The adaption of attendant policy and legislative measures to actualize this recent. understanding of culture in development is happening if slowly The August 2010 constitution recognizes culture as the. foundation of the nation while protecting and promoting artistic expression In addition Kenya s Vision 2030 foregrounds. the role of innovation as important in achieving both the economic and social pillars while national values goals and ideology. will be crucial to achievement of social economical and political aspirations The Kenya National Theatre KNT has been. renovated and performance spaces are mushrooming in the counties Institutions that train youth in the creative arts are. expanding Although these are major strides in centralizing culture a coherent framework for operationalizing the policy. framework is needed, In this Issue Vol 2 Issue1 we share reflections on the creative economy from artists themselves policymakers art lovers. and media personalities These reflections are drawn from three sources First in 2010 Dr Sophie Macharia took the debate. of the Creative Industry to Strathmore University one of Kenya s leading institutions of Business She organized a Public. Lecture Series examining the relationship between creative industry and social transformation This monthly forum under the. aegis of the Ford Foundation attracted participants from the University and the public at large Secondly in 2014 the Jahazi. Editorial Board invited selected scholars and artists to write articles on their thoughts and practice with regard to the creative. economy Lastly material was drawn from the national Creative Economy Conference referred to above The aim of the. conference was to present the different dimensions of opportunity for Kenya s creative economy and means to overcome. constraints limiting the creative economy s full contribution to national development. The extended duration of collection of articles has been frustrating at times for the publisher and editorial team However. significant insights have been gained on the changing thought and language on how culture cultural and artistic expression. shape human development As the government moves more and more towards the creative economy as a panacea to youth. unemployment poverty alleviation weakened industrialization and other socio economic ills commensurate focus has not. been given to the establishment of supportive infrastructure to grow the creative industries Thus we are stuck betwixt intent. and actual implementation, As conversations on the creative economy continue there begs the question whether advocates for the creative economy in. Kenya are focussing more on the economic benefits of culture and forfeiting its aesthetic and intrinsic value Creativity helps. us understand celebrate and express the human condition It is good in and of itself And yet how does the cultural sector. begin to moderate its own socio economic potential on the national platform. These articles are in no way exhaustive in addressing this dynamic area of the creative economy But we do hope they are. provocative enough to catalyse the ongoing conversations and actions in the culture sector. Sophie Macharia Guest Editor,Mueni Lundi Issue Editor. Jahazi Vol 2 Issue 1,From The Publisher,ONE Creative Industries and their Role in the. CREATIVE Transformation of Society,ECONOMY Kimani Njogu. There is no doubt that a new and deep seated paradigm is emerging in the world in which creativity and. knowledge are centrally placed in the political economic and social spheres The global digital revolution has. opened avenues for the creative sector to express itself through wide ranging platforms Popular culture has. permeated all domains of life and creative experimentation is being accepted as a way of life There is no doubt. that only nations that pay attention to creativity experimentation and innovation will deal effectively with the. challenges of the contemporary world including climate change economic inequalities and sustainable social. transformation It is for this reason that we must understand nurture and celebrate the creative industries. those institutions and products that depend on knowledge and innovation to express and interrogate the. human condition The development of creative industries for the transformation of Africa should be deliberate. pointed and sustained It can no longer be incidental With Lupita Nyong o s winning the Oscar amid much. competition Sauti Sol on the walls of the White House African music and dance doing the rounds on the. continent and other parts of the world and a changing policy and legislative framework in favour of the sector. African artists are defining their space,What is Creativity. To create is to make something new something original Creativity the formulation of new ideas and. the application of these ideas to generate new works of art and cultural products scientific inventions and. innovations in technology is intricately tied to notions of originality imagination inspiration and ingenuity. It brings about newness in the world through a process of sustained thinking and experimenting breaking. barriers and trying out fresh paths Creativity is a fundamental inner characteristic of human beings and is at. the heart of intellectual capital Our creative use of language to communicate is a clear manifestation of our. ability to be original in our expression of the environment We are creative creatures by nature But it is the. purposefulness in activating this creative impetus that allows us to benefit from this potential Creativity is not. just about providing entertainment it is also about self expression innovation and education to improve lives. and transform societies, We can broadly discern at least three types of creativity which have a bearing on the creative industry artistic. creativity scientific creativity and economic creativity These forms of the creative project do not exist in isolation. but are intertwined and mutually reinforcing First artistic creativity refers to the innate ability to imagine. situations and the capacity to see the interconnections and emerge with original and novel ideas of interpreting. the world expressed in text sound and image In other words creativity is set in motion by the coming. together of sound such as we experience in music by cohesion in a text such as in literary works and image. such as in painting drawing and film Second scientific creativity refers to our hunger for knowledge our. innate inquisitive nature and the burning urge to experiment search for patterns and try out interconnections. between phenomena in problem solving That is creativity is about rigorously finding the links between. items in the environment maximizing their potential and coming up with something innovative and which. has implications on technology and lives The use of the biometric system that captures patients fingerprints. electronically alongside their medical history is a creative way of merging science and technology Similarly the. use of music and art for healing points to the convergence of creativity and science Third economic creativity. is a process leading towards originality and innovation in business practices technology marketing and is. linked to gaining competitive advantage in economic development The M Pesa phenomenon is an example. of economic creativity in financial transactions These forms of creativity require engagement of the intellect. and ideas and this can be seen in the innovation and co creation spaces such as Ihub in Kenya Hive Colab in. Uganda Kinu Tech hub in Tanzania and Klab in Rwanda. 3 Jahazi Vol 2 Issue 1,What are Creative Industries. At this stage I would like to define creative industries as currently understood Broadly speaking creative. industries are the cycles of assembling production and distribution of goods and services that use ideas. and intellectual capital as the primary inputs Although these industries existed all over the world the term. creative industries gained salience after it was used in Australia in 1994 with the launch of the report. Creative Nation and given wide exposure in the United Kingdom in 1997 when the government set. up the Creative Industries Task Force through the Department of Culture Media and Sport The UK. model defines creative industries as those requiring creativity skill and talent with potential for growth. and job creation through the exploitation of their intellectual property In a series of research reports. Scoping Creative Economy in East Africa Scoping the East African Music Sector and Scoping the Arts Scene. in East Africa released in 2015 in Nairobi by the British Council there is a strong argument that whether. in cultural expression domains of literature music performing arts visual arts or in creative areas such. as film museums galleries libraries and photography there is much promise in the sector The reports. identify originality skill and talent as crucial in defining the sector. Other models used to identify the sector include the symbolic texts model in Europe that focuses. on popular culture as expressed in film broadcasting and the press The symbolic texts are seen as. communicative and intricately associated with the people at the production or consumption phasesi. There is also the concentric circles model which puts emphasis on the cultural ingredient of these. industries and argues that at the core are those which are expressed in sound text and image and the. World Intellectual Property Organization WIPO Copyright model which lays emphasis on what is. copyrightable, The UNCTAD approach to creative industries adopted in this Issue of Jahazi enlarges the concept. of creativity from activities which have a strong artistic component to any economic activity producing. symbolic products with a heavy reliance on intellectual property and for as wide a market as possible. UNCTAD 2004 UNCTAD makes a distinction between upstream activities traditional cultural. activities such as performing and visual arts and downstream closer to the market such as advertising. publishing or media related activities arguing that the latter derive their commercial value from low. production costs and easy transfer to other economic domains Hence in this view cultural industries are. a subset of creative industries,Globally creative, Because they are knowledge based creative industries pr.