Reflections

From the Editor
That Kenya has a vibrant creative sector with a long and distinctive history is in no doubt. As part of the informal sector,
which carries around 84% of the population, we have come to identify it in various ways, the moniker jua kali maybe
best expressing its multiple dimensions. These function within a cultural context that is fluid in its embrace of the new,
and also embedded in traditional ways of doing. The absence of a facilitative policy framework has, however, meant that this
potentially vital sector has had to navigate and create a path for itself. Sectorial stakeholders have variously worked towards
building this framework, both before the enactment of, and within the enabling statutes of the 2010 Constitution. Part of
this thinking was shared at the Creative Economy Conference, from 26th to 28th February 2015, convened by the Creative
Economy Working Group with the support of the Ford Foundation, Advancing Public Media Program.
The international community has increasingly recognized the pivotal role of culture in development. Conversations within
UN agencies, at other international and national fora have resulted in conceptualizing how this recognition of culture might
be translated into actions leading to sustainable social and economic development. Concepts such as “cultural industries”,
“creative industries” and “creative economy” have evolved over time as governments, cultural and creative workers, corporate
institutions and civil society seek to understand and operationalize the fundamental role of culture in human development.
UNESCO, the UN agency with a specific mandate for culture, has a long history of involvement with cultural industries dating
back to the 19th General Conference of UNESCO, in Nairobi (1976). It first commissioned studies on cultural industries in
preparation for European and international conferences (Oslo 1976 and Mexico 1982). The Intergovernmental Conference
on Cultural Policies for Development was held in Stockholm (1998), inviting dialogue between the UN, its Member States,
various NGOs, and business. UNESCO soon published the first World Culture Report – Culture, Creativity and Markets
(UNESCO, 1998). With the adoption by the UNESCO General Conference in 2005 of the Convention on the Promotion and
Protection of the Diversity of Cultural Expressions, endorsed by the UN General Assembly, creativity, creative enterprises
and cultural industries have become strategic drivers for human development. Various countries have ratified this convention.
At the regional level, the East African Legislative Assembly (EALA) on August 25 in Kampala debated and passed the East
African Community (EAC) Cultural and Creative Industries Bill. Stakeholders in the sector helped develop this Bill that seeks
to establish the Creative and Cultural lndustries Development Council. This shall foster an environment conducive for the
enhancement and stimulation of creativity and innovation in the Community.
At national levels, there has been growing cognizance of the potential importance of the creative economy for growth and
for sustainable and equitable development. The adaption of attendant policy and legislative measures to actualize this recent
understanding of culture in development is happening, if slowly. The August 2010 constitution recognizes culture as the
foundation of the nation, while protecting and promoting artistic expression. In addition, Kenya’s Vision 2030 foregrounds
the role of innovation as important in achieving both the economic and social pillars, while national values, goals and ideology
will be crucial to achievement of social, economical and political aspirations. The Kenya National Theatre (KNT) has been
renovated and performance spaces are mushrooming in the counties. Institutions that train youth in the creative arts are
expanding. Although these are major strides in centralizing culture, a coherent framework for operationalizing the policy
framework is needed.
In this Issue,(Vol.2 Issue1), we share reflections on the creative economy from artists themselves, policymakers, art lovers
and media personalities. These reflections are drawn from three sources. First, in 2010, Dr. Sophie Macharia took the debate
of the Creative Industry to Strathmore University, one of Kenya’s leading institutions of Business. She organized a Public
Lecture Series examining the relationship between creative industry and social transformation. This monthly forum under the
aegis of the Ford Foundation attracted participants from the University and the public at large. Secondly, in 2014, the Jahazi
Editorial Board invited selected scholars and artists to write articles on their thoughts and practice with regard to the creative
economy. Lastly, material was drawn from the national Creative Economy Conference, referred to above. The aim of the
conference was to present the different dimensions of opportunity for Kenya’s creative economy and means to overcome
constraints limiting the creative economy’s full contribution to national development.
The extended duration of collection of articles has been frustrating at times for the publisher and editorial team. However,
significant insights have been gained on the changing thought and language on how culture, cultural and artistic expression
shape human development. As the government moves more and more towards the creative economy as a panacea to youth
unemployment, poverty alleviation, weakened industrialization and other socio-economic ills, commensurate focus has not
been given to the establishment of supportive infrastructure to grow the creative industries. Thus we are stuck betwixt intent
and actual implementation.
As conversations on the creative economy continue, there begs the question whether advocates for the creative economy in
Kenya are focussing more on the economic benefits of culture and forfeiting its aesthetic and intrinsic value. Creativity helps
us understand, celebrate and express the human condition. It is good in and of itself. And yet, how does the cultural sector
begin to moderate its own socio-economic potential on the national platform?
These articles are in no way exhaustive in addressing this dynamic area of the creative economy. But we do hope they are
provocative enough to catalyse the ongoing conversations and actions in the culture sector.
Sophie Macharia (Guest Editor)
Mueni Lundi (Issue Editor)
Jahazi Vol.2 Issue 1