Art Means Business

Today we are looking at The Role of the Built Environment in Africa, its role in shaping our identity, frame of reference (i.e. how we look at the world) and well-being, and we also explore business opportunities within the sector (across the value chain).
As usual we have an able professional in the field to unpack this with us. Her name is Potlako Gasennelwe.
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Nonhlanhla rides solo on this episode of Art Means Business, she hosted the delegates of The Female Artists Association of Nigeria (FEEAN). The executives of the association visiting South Africa in celebration of the 58th-year independence of the federal republic of Nigeria. We are reflecting 58 years of independence and chatting about business relations between the Republic of South Africa and the Federal Republic of Nigeria.
FEEAN was born out of the dire need of the female artists who in the past find it difficult to come out during exhibitions with their male counterparts. Most of them after marriage or graduation abandon the profession for other things. Some female professional artists came together to channel their different challenges in society through art exhibitions, seminars, workshops and training for the younger ones, and also to advocate against inequality, rape, genital mutilation, violence, child abuse, sex slaves at conflict areas, adoption and so on.
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We started the show with the sounds of Toto – Africa. One of my favourites and my guests favourite.
In the studio we have Daniel Mosaka; Not only have Daniel and I worked together in the Arts space – Daniel has an amazing CV, history in the African Arts scene. But what makes Daniel an exciting guest is that he has been in involved in all areas of the arts:
Daniel Rankadi Mosako is an art practitioner and UNISA PhD student candidate. He majored in Fine Arts, and has two Honours degrees in Information Science and in History of Art, as well as a Postgraduate Diploma in Museum and Heritage Studies. He was conferred two Masters Degrees in Fine Arts and in Museum and Heritage Studies. He is a refined art [curator, educator, critic, and researcher].
His art philosophy is about the intricate and striking patterns that are reflective of a double-edged sword of social cohesion benefits and challenges. His art elevates questions about subliminal exclusion and partial inclusion practices and patterns that often confront people living in cosmopolitan areas in South Africa. In his art he uses recognisable patterns as a metaphoric representation of empathetic expression for those whose human rights are transgressed.
His body of work is a reflection of years of study and observations made on perceptions and perspectives on social inclusions and exclusion, in which he depicts visual angles and explorations of interlocked motifs and patterns. In his words he states: “I exclude images of human figure in my works of art to make loud comments about the absence of what needs to be present, being cohesive social environments”.
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In today’s Show we want to get a better understanding what is the state of the creative economy Africa. We look at what is working and what is not for us. As well as compare it to what is happening elsewhere in the world. And ask the question what do we need to do to make it better. The world’s creative
economy today makes up 3% of the world’s GDP. With all 11 cultural sectors combined generating US$2,250 billion in revenue.
These figures exceeds those of telecommunications services which comes in at $1,570 billion globally and even surpassed the GDP of India which is sitting at US$1,900 billion. The creative industries generated 29,5 million jobs which employ about 1% of the world’s active population. In fact, the creative industries employ more people thank the automotive industry in the United States, Europe and Japan combined.
Africa’s own stats combined with those of the middle east see the two ‘continents’ (so to speak) jointly generating US $58
billion +/- 3% of the global revenue and creating 2,4 million jobs, +/- 8% of the global creative industry job pool.
Africa’s share of the global creative economy stands at less
Sami Modiba is an attorney and conveyancer. He holds LLM in Human Rights & Constitutional Practice. He has worked in the development sector for ten years, mainly for the Open Society Initiative for Southern Africa (OSISA), advocating for policy and legislative reform and/or development on governance, socio-economic rights, law, media, ICTs, economy, education, language rights, and HIV and AIDS. He is currently consulting in the area of transport planning and land use. His passion is art and wanted to study fine arts upon matriculating; but due to lack of appreciation of art’s contribution to the economy, cultural development and spiritual transcendence within African communities, he was not supported by his family to do so. He continues to express this love through his love for architecture, visual and performing arts.
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The show introduces to the Africa Business Radio platform the topic of the ‘creative economy’. In particular, its relevance to Africa’s economic and development agenda. The show explores the potential of the creative industry to provide new opportunities for developing countries, more importantly, the African continent.
Educational Outcomes:
•An understanding of the concept of the creative economy.
•Explore how art and business are connected
•Exploring the ‘state’ of the creative economy in Africa today.
Studio Guests: Professor Mandivamba Rukuni
On our show, today we want to talk more about the concept of the creative economy. The concept was 1st introduced by the UNCTAD in 2016. It is defined as the interface between creativity, culture, economics and technology – as expressed in the ability to create and circulate intellectual capital, has the potential to generate income, jobs and exports while at the same time promoting social inclusion, cultural diversity and human development.
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This episode is sponsored by
· Anchor: The easiest way to make a podcast. https://anchor.fm/app
Support this podcast: https://anchor.fm/art-means-business/support