CREATIVE INDUSTRY
No One Left Behind:
Building An Inclusive
Creative Industry
By Mukui Mbindyo
M
uch has already been said about
how the digital revolution is a
huge opportunity for Africa.
The proliferation of new technologies, and
the growing demand for culturally relevant
products could be a huge boon for African
economies. At the intersection of business,
culture, innovation, and technology lies
the creative industry. Media, art, music,
fashion, technology, and architecture all
fall under cultural creative production.
UNESCO’s 2019 Shaping Cultural
Policies Report estimates that the global
creative economy generates $2,250 billion
in revenues annually and $250 billion
in exports. UNCTAD’s 2018 Creative
Economy Outlook reported that the
creative industry was the most resilient
sector despite the global economic
challenges of the last decade and a half,
with export growth rates at 7%. China
grew its creative sector at double the
global average, magnifying its soft power
on the global stage as it grew economic
and political power. In the UK alone, the
creative industry employs 300,000 people,
which, if replicated across the African
continent, could help to address our
chronic unemployment problem. film of all time, combined with the rise of
Nollywood, is evidence of a demand for
African content in the global market.
The global shift towards a knowledge
economy of creativity, imagination and
ideas means Africa can leapfrog several
decades and compete in the global
economy now rather than wait to build
up traditional industries. We can create
technology and cultural goods that can be
sold to the global market right now. In order for Africa to fully realize the
potential of this creative opportunity, we
must build an inclusive creative industry
where everyone, including women, youth,
the poor and displaced, has a seat at the
table. The ethos of the United Nations’
Sustainable Development Goals, is that
no one should be left behind.
Africa is already starting to gain
recognition in the global creative
marketplace. This year, the Annecy
International Animated Film Festival, the
global animation marketplace, has pledged
to focus on highlighting, buying and
distributing African animation. To look at
the global music charts today, many would
argue that AfroBeat is now mainstream.
In fashion, African aesthetics are popping
up in the collections of global fashion
houses. The anticipation and significance
of Black Panther which grossed $1.29
billion globally, the 10th highest grossing Similarly, when our creative industry
reflects the richness of Africa’s diversity
in culture and perspective, our creative
products and services will make a more
meaningful and profitable impact in the
global marketplace.
The global shift towards a knowledge
economy of creativity, imagination and
ideas means Africa can leapfrog several
decades and compete in the global econo-
my now rather than wait to build up tra-
ditional industries. We can create technol-
ogy and cultural goods that can be sold to
the global market right now.
72 MAL35/20 ISSUE
We Are Leaving Some
Behind
At first glance, the creative industry
seems more accessible to women, youth,
and disadvantaged groups than other
industries. However, inclusion is more
than checking off representation of
different populations. To what extent do
these groups have significant decision-
making power over the creative products
and services that Africa produces? To
what extent do these groups benefit
materially from creative production, and
is this equitable? When we question the
matter from this perspective we can see
that we still have some work to do to build
inclusivity in the creative industry.
A UNESCO study of the cultural and
creative industries states that women are
severely underrepresented in key creative