PV-FV=NPV • Project work in Kenya

An article in Kenyan paper the Nation (June 27, 2009), written by journalist Gitau Gikonyo puts forward a new tendency he sees. As the middle class is growing in Kenya, the engagement for social issues is declining. The middle class seem to be happy with their lives, driving the car back-and-forth to their jobs, living in houses, children going to good schools, and as the number within this class grows, the interest for politics and to work for a better society for all diminishes. The only ones left to lift these issues are either the elite or the very poor, the article states. In India the middle class accounts for around 200 million and is the economically most dynamic group on this planet. But overall they don’t care about politics or social reforms, Gikonyo states. They are well as it is.

People we meet in Nairobi are very committed. They want to see change, take the opportunity. But for the Arts in Kenya one major question is: Is the Art sector ready for change? In Kenya Art and culture is not described in economic terms, as it is in Europe. And to reach changes, basic needs like img_9212food, electricity, sanity and infrastructure have to be in place. Working with culture without a conscious mindset also on social and societal issues just does not work. ”Freedom of Speach is not recognized in this country since Art is not recognized” one person tells us.

Culture have a mindset towards society. How does this fit with private investors’ interest? The complexity rises. Investors have another rationale and value system than the Arts. The market value chain also looks different. The traditional industry is a linear process from origination to consumption, in creative industries it’s a disruptive process. It doesn’t follow linear expectations, rather you need to in every step from origination to distribution and consumption think in several different options (for more, have a look at Donna Ghelfi’s report below). Time value of money, opportunity cost, as well as net present value counted in the figure: PV-FV=NPV is all investors talk, which has to be layered with cultural production and entrepreneurship if you want these to different fields to meet. Without loosing the value of the Art, the Artistic integrity and the social aspect so closely linked to Artistic work. How should this be done?

The project is a project funded by the Swedish Institute and Strömme Foundation and run by Pratik Vithlani at Mangowalla Ventures in cooperation with Godown and Nätverkstan. Below you can find some of the reports used in the environmental scan for the project.

Read the much debated report on the post-election violence in 2007 written by the Commission of Inquiry into Post-Election Violence, the Waki Report: wakirep.

For information about culture in Africa, have a look at Obervatory of Cultural Policy in Africa. Another interesting initiative is the Arterial network, which started with a conference in Senegal in 2007. The report can be downloaded here: arterialconferencereport.

Read also the reports by Dominic Power, at the University of Uppsala, Sweden, on creative industries, intellectual property and so forth, download here one: dominic-power_-revisied-cluster-theory-for-cultural-industries. Download Donna Ghelfi’s, Programme Officer at Creative Industries Division, interview with John Howkins, a leading thinker on creativity and intellectual property, here: cr_interview_howkins. For an economic perspective on Eastern Africa, look at the report prepared for the investment company Swedfund in 2009 by Peter Stein: reporteastafrica-publ

Check out this fantastic presentation by Hans Rosling, Professor of International Health at Karolinska Institutet in Stockholm at ted.com (or below) where he gives perspective of global development.

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Lotta Lekvall
Director of Nätverkstan, a Cultural Organisation in Sweden. Nätverkstan provides services …

Cultural and Social Entrepreneurship

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