adminmusicians, actors, composers, writers and playwrights Zimbabwean arts authorities are always found wanting.
The creative economies that can be defined as the production and distribution of creative goods and services such as exhibitions, productions, concerts and festivals are an important part of the national fiscus.
The arts and entertainment industry comprises knowledge, talent and skills-based activities that produce tangible objects as well an intangible intellectual materials, and artistic services with creative content.
The economic and cultural values of this industry are grossly underestimated in Zimbabwe.
For comparative reasons, an eye-opener is that in 2011, the world creative economy reported a profit of US$906,5 billion as the value of exports of creative goods and services from 130 countries, a rise from US$335,3 billion in 2006 – a phenomenal 300 percent increase which defies the global economic recession, a current topic of huge concern.
It is therefore evident that the arts are an investment in the ever-expanding humankind, resulting in a perennial resource for the creative industries.
World over there is a drive towards the development and financial support of knowledge and skills-based economies in which the arts play a major role.
The NAMA committee under the auspices of the National Arts Council needs to take cognisance of the practical realities of the arts and the human potential of these enterprises.
What are the associated benefits of a creative economy?
A viable and well-structured creative economy in Zimbabwe would yield the following benefits:
l Sustainable development and economic diversity;
l Employment creation and the possibilities of poverty alleviation;
l The provision of new macro-economic markets in the arts;
l The possible rebranding of Zimbabwe as an artistic and culturally vibrant destination which will symbiotically contribute to cultural tourism – not unlike the Kora Awards in West Africa, Cannes Film Festival of France, or the Edinburg Arts Festival in Scotland which are world renowned brands of artistically renowned cities.
Hence for sustainable development to take place, art, culture and creative enterprises need to be given centre stage in economic development.
In most countries, recipients of national arts awards are awarded scholarships, academic fellowships, financial prizes, bursaries and equipment, i.e. musical instruments, recording and marketing contracts, art equipment, publishing contracts and a host of other incentives. What is it that the appointed directors of the National Arts Council do throughout the year that they feel it necessary to employ the services of an artiste to do their work of fund-raising and public relations awareness?
Perhaps in the future competent, pro-active and less self-seeking, committee of dedicated artistes with an economic and administrative background should be assembled in order to help balance the initial concept of NAMA before it further becomes a farcical spectacle.
l Dr Tony Monda holds a PhD in Post-Modern Art Theory and a Doctorate in Business Administration( DBA) in Post-Colonial Art and Heritage Studies. He is also a practising artist, designer, art critic and Corporate Image Consultant.
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