Strengthening the Creative Industries for Development in ... - unctad

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PART 3. CREATIVE INDUSTRIES POLICY REVIEW 15 2011, 38 which commits it to various policy revisions and aims to emphasize the role of culture in the country’s development. 39 The government has been active in supporting the development of culture and creative enterprise in myriad ways. To begin with, the National Song and Dance Company of Mozambique (CNCD), the National Film and Audiovisual Institute (INAC), the National Museum of Art, the National Fund for Arts and Culture (FUNDAC) and the National Institute for Books and Discs (INLD) are under the tutelage of the MEC. These institutions are, for the most part, in need of serious rehabilitation at all levels, ranging from infrastructural aspects to professional capacity-building. Various organizations and associations in different sectors have been created by the government. Under the patronage of the ministry, an amateur group of dancers, musicians, actors and storytellers was created in 1976. In 1983 the group turned professional and was named the CNCD. The government also initiated the creation of the Association of Mozambican Musicians (AMMO). The AMMO held its first general assembly, after almost 20 years of relative inactivity, in September 2008, with the aim to revive the association and to elect a new secretary-general and board. According to discussions with local stakeholders, the Department of Culture is called upon to invest much of its human capacity to organize public events and festivities, which is time diverted from focusing on the real needs of the sector itself. It is clear for all involved that there should be more focus on strategy and policymaking and in particular the implementation of those policies. The Ministry of Youth and Sport runs a crafts project called Mozarte. Action: The current institutional framework for the administration of cultural policy and its impact on creative industries could be enhanced to facilitate concerted policies with greater socio-economic impact over the short and long term. It could be useful to introduce a mechanism to facilitate a multidisciplinary approach and inter-ministerial actions towards a broader creative economy strategy. This could be done, for example, through the establishment of an empowered Inter-ministerial Steering Committee on Creative Economy, as a standing coordinating body to play a key role in shaping interministerial decisions involving government officials from all the relevant ministries and institutions. Such a committee would also interact with key stakeholders from professional associations of the creative sector, to develop and put in place appropriate and more effective public policies for enhancing the creative industries, as a strategic component of Mozambique’s economic development agenda. The implementation of this action is likely to reinforce the current structure and allow for more articulated and effective policy actions. 3.1.1 CULTURAL POLICY The Strategic Plan for Culture was elaborated taking into account the recommendations of the First National Conference on Culture (July 2003), the Agenda 2005 and the Cultural Policy of Mozambique and its implementation strategy. The plan takes into consideration a number of issues that were not addressed in the 1997 Cultural Policy of Mozambique and which are relevant for this project, notably, that of strengthening the economic contribution of the culture sector for the development of Mozambique, enhancing capacity and infrastructure in the sector and improving cooperation between the different stakeholders. 40 The strategic plan points out seven core problems for the development of the cultural sectors in Mozambique: (a) competent and skilled manpower; (b) lack of cultural infrastructure and facilities 38 República de Moçambique, Ministério da Educação e Cultura (2006). The Strategic Plan refers to the English translation (first draft and unofficial) of the PEEC. 39 MDG-F: 6. 40 Republic of Mozambique, MEC (2006): 9.
16 PART 3. CREATIVE INDUSTRIES POLICY REVIEW (equipment and materials); (c) limitations of the government and need for private sector mobilization; (d) information, data and documentation on the sector; (e) barriers to competitiveness for cultural stakeholders; (f) provision of the required legal and regulatory frameworks, which is lacking in some areas or weak in terms of enforcement; (g) streamline the activities of various cultural agencies. 41 The strategic plan also points out 10 major institutional weaknesses associated with the sector: (a) poor perception of culture among senior public officials; (b) poor infrastructural capacity and poor human capacity to manage existing infrastructure; (c) lack of a comprehensive national system for data collection, documentation, storage, dissemination and statistics and information, especially on the economic impact of culture; (d) inadequate integration of culture into the economic and social sectors and into the school curricula; (e) absence of a comprehensive national language policy; (f) inadequate dissemination of policies, legislation and regulations related to culture, to enhance better understanding of their value to stakeholders; (g) poor institutional capacity to monitor and evaluate policies, strategies, programmes and projects contributing to weak delivery; (h) lack of appropriate managerial, technical and professional capacity and competence among cultural managers, artists and producers thus reducing their ability to be competitive; (i) lack of linkages and networking among institutions; and (j) excessive dependence on the government by cultural practitioners. 42 These points can be substantiated based on the current research. On the last point it is worth pointing out that the encounters with professionals of the various cultural sectors did not lead to the impression that there was an excessive dependence on government, rather that there were many motivated professionals who clearly had to be dynamic in their own right in order to achieve the success they already had, but that there was an overall interest in seeing some structural and systematic government engagement and encouragement for the creative industries. The government’s six priorities for the development of the creative industries are clearly identified in the strategic plan. It is worth reiterating the strategic priorities and the specific objectives set out in the PEEC that are directly pertinent to UNCTAD’s role in this project. Strategic priority 2: Promote activities within the culture sector that generate income; 43 Strategic objective 3: Elaborate and enact the appropriate legislation to provide fiscal incentives to artists, cultural producers and the corporate sector as a way of encouraging the development of cultural industries; Strategic objective 4: Promote the commercial exploitation of local cultural productions and artistic creations; Strategic objective 5: Strengthen (copyright) enforcement regimes to protect the interests and rights of artists and cultural practitioners; Strategic objective 6: Improve access to quality data on the economic importance of the culture sector; Strategic priority 4: Develop and strengthen the capacity and infrastructure of the culture sector; 44 Strategic objective 1: Develop and strengthen both institutional and human capacity in the culture sector; Strategic objective 2: Expand and improve the network of cultural infrastructure; 41 Republic of Mozambique, MEC (2006): 4. 42 Republic of Mozambique, MEC (2006): 5. 43 Republic of Mozambique, MEC (2006): 17–19. 44 Republic of Mozambique, MEC (2006): 23–24.
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66 LIST OF CONTACTS Mbuyamba, Lupwi
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68 REFERENCES República de Moçamb
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