The Situation of Cultural Policies and Economics in Africa

The Vacuum

Cultural policies and economics remain    a problem in Africa. Either   their absence or implementation account for the troubles. Moreover, these initiatives, when they can exist, are of use in a handful of countries.  Citable  examples   are  South Africa, the largest economy on the continent,  Mali then with her   voluntarism policy, in the past, represents an investment of Euro 4 million for a 4-year programme with though personalities at the helm of the ministry of Culture and  Senegal has been witnessing the contrary, although the country enjoys stability. Ministers are changed all the time. As such, no policy can be implemented from start to finish by one minister. However, Senegal is also   among the exceptions to be mentioned. When the ministers are maintained in their positions, they hardly influence presidential decisions in favour of arts and culture.

An Opportunity to Seize

Yet, the global arts and culture market has been flourishing. Its growth, 6%, has been consistent for the last 20 years. With the exception Egypt and South Africa, the continent does not enjoy the largesse of globalisation. Its contribution is less than 1% of world trade in cultural goods and services according to Creative Economy Report in 2008. Those taking advantage of it are a minority of wealthy countries like the United States, France, Germany, the United Kingdom, Japan, Brazil, India, and China….  Sadly, the African market is not protected. It has been invaded by western production. It is, therefore, hard to conceive, produce and disseminate contents that can meet the expectations of the African audience. The African market suffers linguistic and cultural divides. A part from Nigeria, with 150 million inhabitants and a challenger to South Africa, to some extent, most other national markets are small venues. The situation is worsened by the disorganisation of the market.

Too Many Concerns

The ignorance of copyrights is a cause for concern. Furthermore, the prestige of artists is tarnished. Cultural life in countries, especially in Francophone Africa, was limited to the functioning of organisations like national ballets, theatres and bands, national or international cultural events such as festivals. All in all, the job done was superficial.  Little attention is paid to the plight of arts and culture. As such, culture remains an aided-economy. Its survival depends on international assistance.  Such support has many repercussions. This has led  to  talented artists migrating to Europe and Americas, or people producing works that are not adapted to African daily life. Consequently, talents produce according to Western formats. They take upon themselves to please people who stretch them a hand. Many are critical about the nature of African independence. It is mostly political, they say, even 50 years later. However, economic independence is necessary. It is worth adding that the same holds true for cultural independence as it should be treated as a case of emergency. Has political independence actually benefited the majority of people in African countries? This one of the numerous and relevant questions to address in the days ahead.

Passive States

This results from permenent lack of public policies and economic strategies. In that connexion, most international legal instruments assign the State the mission of devising a sustainable framework for expression that develops creative industries, especially the international convention for cultural diversity aiming at “reaffirming the sovereign right of states to draw cultural policies”. The initiative is even more welcome in Africa, for the private sector is still at its early age. Besides, the informal sector dominates arts and culture on the continent. This entails the lack of statistics and analyses. In a context of anarchy, it becomes impossible to collect the tax base. As a consequence, redistribution to artistes and cultural organizations is next to nothing. Countries such as Gabon, Côte-d’Ivoire, Burkina Faso or Senegal rather worked out policies per sector as regard film and news. This as a whole unveils two obstacles to surmount.

Vision Is Needed

The first hindrance is the lack of vision by African leaders. They loose sight of the relevance cultural heritage in nations building. Even the on-going American imperialism hardly affects them. Yet, they suffer that blow on a daily basis. In classifying major industries in the United States, culture via film almost occupies front position after armament.

Ministries of Culture Need Empowerment

The second mistake is the importance of ministries of Culture in the unofficial hierarchy of sovereignty instruments. State protocol often ranks them at the bottom. Moreover, numerous countries cannot boast of having one. There is no excuse for this. However, people can understand it. Budgets for culture in Africa are meaningless. The small amounts cannot sponsor projects, not to mention development programmes.

Something Must Be Done

The African picture is dark. Must people then give up or be passive? No is the answer. It is actually the purpose of Arterial Network’s initiative. Afro-pessimism is castigated. Civil society can play a major part in this.

There Are Better Prospects Ahead

Possible solutions are concretizing. Something positive is on across Africa. Current policies and economics strategies are parting ways with the over-centralization policy of previous years. The State withdrawal in progress should herald better days to come.  However, local authorities taking over have to display some mastery of modern management. This is to taken as a big challenge. In this regard, devolution of power on its own is not enough to secure success. The situation in Senegal tells the whole story. 10 years after the country was decentralized, beneficiaries or citizens are still reluctant to embark on public management.

Next policies and economics strategies are entitled to seize the opportunity of the end of hardship that is announced across Africa. In this connexion, many countries are planning to rise to the status of emerging economies between 2015 and 2040. This vision should allow the public to consume their own culture. As of now, voluntary initiative to buy by the people is hard to show. Rampant poverty jeopardizes the slightest initiative. It is high time the private sector was taken into account when devising conducive tax strategies. For this, English-speaking countries are ahead. The situation of their French-speaking counter-parts is not attractive for the private sector because of high tariff, employer’s contributions, turn-over tax and other charges. The tax exoneration of cultural goods production scheme can be envisaged in the same vain. Assistance funds exist, it is true. But they have to be restructured. In Cameroon, the Special Fund for Culture is henceforth the coffer of the ministry of Culture. The money is used to sponsor the trips of officials abroad. The artistes were given grants for the last time in 2008. An autonomous management committee for the fund, free from any influence from the ministry, will be most welcome.

Séverine Cappiello is suggesting that money be invested on the environment of artistes; not the creation as has always been the case. That is to develop modern technical equipment, training offer, dissemination of works of arts, status and mobility of artistes, fight againts piracy, network of cultural entrepreuners, networking of stakeholders in the sector, copyrights…

 Somes Questions to Be Answered

1-What is the situation in your country or sub region as regards cultural policies?

2- What can be said there about economics policies?

3- What should be to reverse the trend if negative?

4-Why should people made to understand that creative industries are not a luxury for Africa?

5- Why should hierarchy be reconsidered between culture, economics and politics?

6- How can decision-makers be prompted to adopt cultural policies?

7- How do you envisage the development of cultural industries in Africa?

8- How can Africa jump from informal economy to creative industries?

9- How can creative industries become development levers?

10- How can the private sector be interested in investing in creative industries?

Your contribution to the debate is most welcome!

These ten questions do not exhaust our concerns. Feel free to raise other issues that are closely related to our topic. You are called up to react or make proposals in English and French. Due consideration will be given to all the contributions. Mike et Télesphore are eager to hear from you.