tag:theconversation.com,2011:/ca/topics/cultural-events-23575/articlesCultural events – The Conversation2017-11-27T11:47:28Ztag:theconversation.com,2011:article/872232017-11-27T11:47:28Z2017-11-27T11:47:28ZHow to crack down on the scourge of ticket touting<figure><img src="https://images.theconversation.com/files/196311/original/file-20171124-21838-15qodht.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">
</span> <span class="attribution"><span class="source">shutterstock.com</span></span></figcaption></figure><p>Whether it is the music industry, sports matches or theatre productions, the scourge of ticket touts is a massive issue. The experience of tickets selling out in a matter of seconds, only to appear at marked up prices on other websites or outside events is an experience that is all too familiar.</p>
<p>Recent research published by <a href="http://fanfairalliance.org/">FanFair Alliance</a>, a campaign group that promotes a transparent and properly functioning ticket market, has highlighted the growing dissatisfaction with ticket touting. Out of more than 1,100 people surveyed, nearly three quarters thought touting was a major concern for music fans, 65% said it would result in them attending fewer gigs, 58% that they would spend less on food and drink at events, and 47% that they would spend less on recorded music as a result.</p>
<p>The survey also identified three forms of confusion at the heart of the ticketing market: the blurring of the distinction between the primary and secondary market; an inability to determine who was the official ticket agent; and the failure of secondary platforms to provide the identity of a reseller. </p>
<p>In particular, 44% of people in the survey said they were unaware of the difference between primary and secondary sellers. This is exacerbated by Ticketmaster, the world’s largest primary ticket agent, owning two of the big four secondary platforms, GetMeIn and Seatwave, all of which have Live Nation as their parent company. The other two major players are Stubhub and Viagogo.</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/196313/original/file-20171124-21795-1495e5r.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/196313/original/file-20171124-21795-1495e5r.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/196313/original/file-20171124-21795-1495e5r.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=600&fit=crop&dpr=1 600w, https://images.theconversation.com/files/196313/original/file-20171124-21795-1495e5r.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=600&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/196313/original/file-20171124-21795-1495e5r.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=600&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/196313/original/file-20171124-21795-1495e5r.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=754&fit=crop&dpr=1 754w, https://images.theconversation.com/files/196313/original/file-20171124-21795-1495e5r.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=754&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/196313/original/file-20171124-21795-1495e5r.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=754&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Touting is unfair to artists and fans.</span>
<span class="attribution"><a class="source" href="https://www.flickr.com/photos/sfslim/15010623166/in/photolist-dMg6mC-6nkkba-ncHN4J-gY5mkb-oSrniG-5n1H3r-pKPCp-p434nL-847cor-a9cFL8-6WT5Mj">Aaron Muszalski</a>, <a class="license" href="http://creativecommons.org/licenses/by/4.0/">CC BY</a></span>
</figcaption>
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<h2>The UK position</h2>
<p>Attitudes towards touting in the UK are ambivalent. At one end of the spectrum are upholders of free market ideals who consider “secondary ticketing merchants” to be entrepreneurial, such as Conservative minister <a href="http://www.huffingtonpost.co.uk/2014/04/09/sajid-javid-culture-secretary-ticket-touts_n_5117258.html">Sajid Javid</a>. Others – including many artists – are a lot more critical. The comedian <a href="http://www.stewartlee.co.uk/written-for-money/secondary-ticketing-might-be-legal-but-that-doesnt-make-it-morally-right/">Stewart Lee</a>, for example, has expressed his dismay at the practice and questioned its morality.</p>
<p>Currently, it is only criminal to tout tickets for <a href="http://www.urban75.org/football/after4.html">professional football</a> games, which is justified on public order grounds. Ticket touting at the London 2012 Olympic and Paralympic Games and the Glasgow 2014 Commonwealth Games <a href="https://e-space.mmu.ac.uk/707/">was also criminalised</a>, but on the basis that the image of these events needed protecting. These legislative anomalies aside, it is ten years since the government’s <a href="https://publications.parliament.uk/pa/cm200708/cmselect/cmcumeds/202/202.pdf">Culture, Media and Sport Select Committee</a> conducted its initial investigation into “the murky world of ticket touting”. Little since then has changed.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/196314/original/file-20171124-21811-1em1b96.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/196314/original/file-20171124-21811-1em1b96.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=401&fit=crop&dpr=1 600w, https://images.theconversation.com/files/196314/original/file-20171124-21811-1em1b96.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=401&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/196314/original/file-20171124-21811-1em1b96.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=401&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/196314/original/file-20171124-21811-1em1b96.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=504&fit=crop&dpr=1 754w, https://images.theconversation.com/files/196314/original/file-20171124-21811-1em1b96.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=504&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/196314/original/file-20171124-21811-1em1b96.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=504&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">It is only criminal to tout tickets for professional football games.</span>
<span class="attribution"><a class="source" href="https://www.flickr.com/photos/pittaya/5808948007/in/photolist-9RjnRZ-6zk2st-67iAG8-2rdDVK-c1HcJw-bXm6N9-nFsGHU-dMg6mC-qsuzwS-7RnYRN-8T8nyz-88vnKt-bZ3LZN-c3dpvY-8YPRn4-c3d9jL-c1HiwA-c2bhqf-c1FKim-c4dg2C-c2aZ93-c3deNd-2xNjsZ-c3djtW-c2bb5q-WfcVG3-4xPRjR-c3d3ZY-bZzXe3-c2b8LS-7JLJNF-c2b3wu-m8XykT-c4dfyC-53r5Qr-ftc1vd-7JMCBg-Zs9isH-q7wf5a-pUHBv1-9ScXcX-pZ6j8h-h9zRG9-c1Gufh-yHTWju-4BEYoF-bLEJMr-e6iD1D-bZ4oX9-efXV67">pittaya/flickr</a>, <a class="license" href="http://creativecommons.org/licenses/by/4.0/">CC BY</a></span>
</figcaption>
</figure>
<p>The independent <a href="https://www.gov.uk/government/news/independent-secondary-ticketing-review-published-today">Waterson Report</a> of 2016, which was commissioned by the government, recommended that the use of ticket bots be criminalised. But this has <a href="http://www.legislation.gov.uk/ukpga/2017/30/section/106/enacted">not yet happened</a>. Its recommendation that more information about the tickets being sold should be published on secondary platforms is now in the <a href="http://www.legislation.gov.uk/ukpga/2015/15/section/90/enacted">Consumer Rights Act 2015</a>. This requires touts to publish the ticket’s original face value and any relevant restrictions, such as a ban on resales, and enough information about the ticket so that the purchaser can identify the specific seat or standing area for which it is valid. </p>
<p>But despite a further <a href="https://www.parliament.uk/business/committees/committees-a-z/commons-select/culture-media-and-sport-committee/inquiries/parliament-2015/inquiry1/">consultation</a>, the government continues to favour self-regulation over direct intervention, notwithstanding attempts by some MPs <a href="http://www.sharonhodgson.org/_putfans1st_campaign">such as Sharon Hodgson</a> to criminalise the activity.</p>
<h2>The need to regulate</h2>
<p>It is clear that self-regulation has failed and that this <a href="https://www.theguardian.com/business/2017/oct/30/touts-threat-to-uks-45bn-music-industry-survey-reveals">£1 billion industry</a> is riddled with conflicts of interest. Its detrimental impact on all those affected by touting now has a much clearer evidence base. Touting is not about clever entrepreneurs, but big businesses draining money from the entire industry. </p>
<p>Instead of tinkering around the edges, by promising to regulate the use of bots or limiting the amount for which a ticket can be resold, direct regulation of the secondary market is needed. First, the business links between primary and secondary platforms need to be addressed. It is not in Live Nation/Ticketmaster’s economic interest to prevent sales on GetMeIn and Seatwave. Second, criminalising resales above the combined amount of face value and associated fees should be considered. </p>
<p>Regulation alone is not the answer. Fans need to be educated about the <a href="http://fanfairalliance.org/wp-content/uploads/2017/03/30-FFA-Guide-final.pdf">problems</a> associated with engaging with the secondary market. In particular, there is a need to address the misconception that it is not illegal to resell tickets to sports and entertainment events. </p>
<p>In the vast majority of cases, it is at least a breach of contract to resell event tickets without the authorisation of the event organiser, and to breach the terms of a contract is unlawful. The knock-on effect of such a breach is that the ticket is invalidated and the right to attend the event revoked. </p>
<p>The Rugby Football Union succeeded in forcing Viagogo to release information about touts so that it could pursue breach of contract claims against them <a href="https://www.supremecourt.uk/cases/uksc-2012-0030.html">and trespass claims against the purchasers of touted tickets</a>. It is this ability to enforce the ticket’s terms and conditions that has encouraged performers from <a href="https://help.ticketmaster.co.uk/ed-sheeran-uk-tour-2018-info/">Ed Sheeran</a> to <a href="https://ironmaiden.com/fan-club/tickets">Iron Maiden</a> to require additional ID to ensure that only the original ticket purchaser and their group can attend events. </p>
<p>This approach needs the buy-in of venues, however. At a recent Metallica concert, fans with touted tickets were <a href="http://www.dailyrecord.co.uk/news/scottish-news/metallicas-tour-promoters-force-venues-11422194">allowed in against the express wishes of the band</a>. Live Nation, the tour promoter and ultimate owner of GetMeIn and Seatwave, forced the venue to honour the touted tickets.</p>
<p>In the FanFair survey, 80% of the sample felt the big four secondary ticket platforms were ripping fans off. Face value resales to other fans are seen as acceptable, but profiting from secondary ticket sales, particularly on an industrial scale, is not. The growing discontent against touting has resulted in <a href="http://fanfairalliance.org/google-launches-global-certification-ticket-resellers/">Google</a> announcing that from January 2018, event ticket resellers will need to be certified before they can advertise through its service AdWords.</p>
<p>The ticketing industry as a whole needs overhauling, not just the problem of ticket touting. Excessive booking fees and how the market responds to technological advances, particularly the use of paperless tickets and the potential of new technology like blockchain must also be considered. Only a coherent approach to the market as a whole will help provide a solution to this perennial problem.</p><img src="https://counter.theconversation.com/content/87223/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>The authors do not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Ticket touting is bad for fans and it’s bad for the industry, but should reselling tickets be a criminal offence?Mark James, Professor of Sports Law, Manchester Metropolitan UniversityGuy Osborn, Professor of Law, University of WestminsterLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/652452016-10-02T19:38:59Z2016-10-02T19:38:59ZCuba’s schooling success rests on culture, inclusion and social participation<figure><img src="https://images.theconversation.com/files/137351/original/image-20160912-3777-147o6yq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Cuba places a great deal of value on cultural activities for its school children.</span> <span class="attribution"><span class="source">Desmond Boylan/Reuters</span></span></figcaption></figure><p><em>Tania Morales de la Cruz, a professor of education at Cuba’s <a href="http://www.umcc.cu/">University of Matanzas</a>, recently visited South Africa for the first time. She chats to <a href="https://theconversation.com/why-cuba-is-an-education-success-story-and-what-it-can-teach-africa-50211">Dr Clive Kronenberg</a> of the Cape Peninsula University of Technology about the island nation’s lessons for other countries – especially when it comes to rural and <a href="http://www.hsrc.ac.za/en/review/september-2011/multi-grade-teachers">multi-grade education</a> (in which children of different ages and grade levels share one classroom and teacher), as well as the role of culture in education.</em></p>
<p><strong>Rural education remains a major challenge throughout the world. Cuba seems to have flourished where many others have faltered?</strong></p>
<p>Cuba has paid special attention to rural education since the <a href="http://www.theatlantic.com/education/archive/2015/02/how-education-shaped-communist-cuba/386192/">early 1960s</a>. Communities and teachers work together to fulfil the objective of bringing good, quality education to all. The aim is to provide all children with the same possibilities: to help them attain a high understanding of their culture so they can contribute to social development and integration.</p>
<p>Teachers, student teachers, retired teachers and fully-trained assistants are all indispensable to the smooth functioning and success of our many rurally-based schools.</p>
<p><strong>There are thousands of small, often underdeveloped multi-grade schools around the world, mostly in rural areas and fairly invisible to the public eye. My own <a href="https://www.cput.ac.za/newsroom/news/article/2390/leading-researcher-explores-cuban-education-system">visits</a> to Cuba showed that it also faced this predicament. How did Cuba address this in meaningful, productive ways?</strong></p>
<p>The multi-grade classroom –- where one teacher instructs two, three or more grades at the same time – has become a valuable stepping stone in our rural communities. Here the preparation of teachers has been planned with significant dedication. In Cuba’s rural districts, multi-grade classes have successfully delivered quality education to a wide age-range. The curricula have been customised to address this range.</p>
<p>Instructional materials are regularly updated with relevant content. They’re then rolled out cost effectively – using, for instance, TV lessons both at school and at home.</p>
<p>The use of approaches aimed at the classroom-group, as a whole, and not the individual grade, has been very fruitful.</p>
<p><strong>Research shows high levels of <a href="http://digitalcommons.kennesaw.edu/cgi/viewcontent.cgi?article=1633&context=etd">apathy</a> and boredom among rural students all over the world. This makes sense, since rural areas tend to lack cultural and social amenities. Is this why Cuba placed a high value on culture to deal with this?</strong></p>
<p>Being rural doesn’t mean that schools cannot carry out projects with parents and children such as regional song, dance and poetry festivals. Drama productions, film shows and debates about topics crucial to the curriculum have raised both Cuban school children’s cultural levels and their educational experience. This is also true for those living in far flung, isolated regions. </p>
<p>Book fairs, together with school and community libraries, have promoted literacy and, ultimately, the broadening of consciousness. In our rural districts, as elsewhere, cultural events aimed at “celebrating excellence” are regularly organised. The emphasis is not so much on “competition” but on “emulation” – matching or even going beyond the “striking” and “remarkable”.</p>
<p><strong>How is this “cultural developmental process” manifested at basic school level?</strong></p>
<p>Cultural development as part of the daily curriculum is extensive, none the least in our rural schools. </p>
<p>Communities and parents remain deeply involved. Cubans understand that one cannot separate culture from education or education from culture. Here parents play a key role. They are empowered, encouraged and resourced to do as much early childhood development as possible with their children. But we also have hosts of specialised schools for gifted children – from anywhere - to receive expert tuition in the expressive arts. </p>
<p><strong>What basic lessons do you think could be applied to improve education in South Africa’s own rural hinterlands?</strong></p>
<p>In my visit to the country’s rural areas I could appreciate that what you really need is more commitment to secluded teachers and the special conditions they face. More pronounced methodological guidance can certainly be beneficial as well. Perhaps more organised supervision, coupled with the sharing of experiences and the design of lessons, can all contribute to raising standards and results.</p>
<p><strong>How can South Africa begin to overcome its seriously impaired education system? Previously you have highlighted the importance of “values” in enhancing the educational process…</strong></p>
<p>It was through the unity of the nation that Cuba could work together as one to attain this high standard in education – but also in culture, in the arts, in health, in ecological protection. The promotion of a shared, universal values system was considered crucial to forming a new, unified nation. </p>
<p>Such processes, envisioned by the national hero <a href="https://theconversation.com/cuban-schools-focus-on-good-values-holds-global-lessons-58896">José Martí</a> and taken up by the leadership, played a pivotal part in the children’s educational advancement. Without a good, universal values system, the educational project would not have reached the heights it currently commands.</p>
<p><strong>You seem to suggest that a “moral imperative” may be lacking in South Africa?</strong></p>
<p>I cannot be prescriptive. But it all starts with the economy, which should be deeply linked to the social development and upliftment of the population as a whole. More and more groups across the world are opposing social systems that are reactionary in nature, by standing up for real, progressive change. This could be advanced by focusing even more on the impact of culture on youth.</p>
<p><strong>Are you saying that productive social and cultural change is key to overcoming our struggling education system?</strong></p>
<p>South Africa should think about committing to the <em>holistic development</em> of all children. This should include the formation of a cohesive social identity without the fastidious focus on individualism, particularism and materialism.</p>
<p>Here Cuba’s educational policy is closely linked to its cultural policy, where the cultural triumphs of other societies are fully incorporated into its national programmes. At the same time, we place a high premium on our national traditions. But our major quest has been not so much to elevate and revere individual cultures, but also to look for and build on common premises.</p>
<p><strong>And the end result?</strong></p>
<p>We have achieved a fair measure of success in bringing different cultures – and by association, “different peoples” and “different traditions” – together under a fully co-operative nationhood. The triumphs of our education system depended on the formation of a socially interconnected community of citizens working together for the common good of all.</p>
<p><em>Author’s note: This scholarly visit was funded with a grant from the South African National Research Foundation. Thanks to others who make the visit a success including: Laura Efron (Argentina), Nyarai Tunjera (Zimbabwe), Merle Hodges (Director: CPUT International Office), Dr Karen Dos Reis (HOD: CPUT Education Faculty), Professor Meschach Ogunniyi (UWC), Professor Johann Wasserman (UP), and Dr Diphane Hlalele (UFS).</em></p><img src="https://counter.theconversation.com/content/65245/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Clive Kronenberg appreciatively and duly acknowledges the funding awarded by the South African National Research Foundation, enabling Tania Morales' highly successful scholarly visit to Cape Town, South Africa. </span></em></p>Cuba has paid special attention to rural education for decades. This focus has paid off, bringing quality schooling to often-neglected areas.Clive Kronenberg, NRF Accredited & Senior Researcher; Lead Coordinator of the South-South Educational Collaboration & Knowlede Interchange Initiative, Cape Peninsula University of TechnologyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/522242016-01-20T03:59:09Z2016-01-20T03:59:09ZWhy art and culture contribute more to an economy than growth and jobs<figure><img src="https://images.theconversation.com/files/106616/original/image-20151218-27894-1k3u2cw.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Artworks by deceased South African artist Helen Martins. The cultural and creative industries are key for social and economic development. </span> <span class="attribution"><span class="source">EPA/Kim Ludbrook </span></span></figcaption></figure><p>There is growing international interest in the potential of the cultural and creative industries to drive sustainable development and create inclusive job opportunities. An indication of this is a recent set of UNESCO guidelines on how to measure and compile statistics about the economic contribution of the <a href="http://www.uis.unesco.org/culture/Documents/FCS-handbook-1-economic-contribution-culture-en-web.pdf">cultural industries</a>. </p>
<p>But should this be the only reason for funding arts and culture?</p>
<p>Cultural industries can be defined as those whose major outputs have some symbolic value – such as fine arts, film and craft – but also possibly including jewellery design, publishing and fashion.</p>
<p>Creative industries are defined more broadly. These have knowledge as their major input, and in addition to cultural goods and services could include things like software design and internet services. </p>
<p>UNESCO has provided guidelines on ways in which these industries <a href="http://www.uis.unesco.org/culture/Pages/framework-cultural-statistics.aspx">can be classified</a>. But there is still no international consensus. Nor is there likely to be, since different countries will have very different levels of involvement and focus that may shape what information is useful for them.</p>
<p><a href="http://www.worldcreative.org/">Cultural Times</a>, the first global map of the cultural and creative industries, which was recently released, acknowledges the societal value of arts and culture. </p>
<blockquote>
<p>Undeniably, culture and creativity have been the cement that binds together not only hearts and souls, but entire societies and nations. </p>
</blockquote>
<p>This survey quantifies the global economic and social contribution of the sector. The study analyses 11 cultural and creative industry sectors. They are: advertising, architecture, books and newspapers/magazines, gaming and movies, and music, performing arts, radio, television and visual arts.</p>
<p>Cultural Times assesses the contribution of cultural and creative industries to economic growth. It estimates that they generate US$250 billion in revenue a year, creating 29.5 million jobs worldwide.</p>
<p>The report helps demonstrate the value of arts and culture. It provides a good rationale for government support of arts and culture, especially in developing countries where there are so many other demands on the public purse.</p>
<h2>Contribution to jobs and growth in South Africa</h2>
<p>South Africa is increasingly beginning to focus on cultural and creative industries as potential contributors to economic growth and job creation. This is reflected in the report, <a href="http://www.gov.za/sites/www.gov.za/files/mzansi%20golden%20economy%2020110411.pdf">Mzansi’s Golden Economy</a>, which sets out ways in which the arts, culture and heritage sectors can contribute to the growth and development of South Africa’s economy. </p>
<p>In addition, the government recently established the <a href="http://www.dac.gov.za/content/cultural-observatory">National Cultural Observatory</a>. It will act as a hub for information and research about the economic and social impact of the creative and cultural industries.</p>
<p>South Africa did its first cultural and creative industries mapping study in 2014. Though not yet publicly available, it showed that the industries had created between 162,809 and 192,410 jobs, about 1.08% to 1.28% of employment in the country, and that they contribute 2.9% to GDP. </p>
<p>Based on interviews with a wide variety of more than 2000 people involved in the cultural and creative sector, the study also found that firms tend to be small, with more than a quarter (27%) having only one employee, and a further third (34%) employing between two and five people. </p>
<p>Women and men were about equal in proportion. More than three-quarters (77%) were from black, coloured or Indian race groups. </p>
<p>Given the very severe <a href="http://www.statssa.gov.za/publications/P02114.2/P02114.22015.pdf">youth unemployment</a> in South Africa, the industries may be particularly important for job creation: 22% of employees are younger than 18, 18% between 19 and 24, and 19% between 25 and 30. This means that 60% of the workforce in the industries in is younger than 34. </p>
<p>These findings echo worldwide trends. The global mapping study found that employment in the industries was relatively open to people from all ages and backgrounds (but especially the young), and dominated by small firms. In developing countries, production is dominated by the informal economy.</p>
<h2>Other spin-offs</h2>
<p>The industries are also a potentially important contributor to social cohesion and nation-building through the promotion of intercultural dialogue, understanding and collaboration. This is strongly emphasised in the Department of Arts and Culture’s most recent strategic plan (not yet available online). </p>
<p>These are part of a range of spin-offs that artistic production can offer, beyond the straight “instrumental value” – those values that, while undeniably important, are essentially spin-offs of the main point of artistic production. </p>
<p>The “intrinsic” values and aims of culture, “art for art’s sake”, are things like: to entertain, to delight, to challenge, to give meaning, to interpret, to raise awareness, and to stimulate. </p>
<p>These non-market values are difficult to measure in monetary terms, but are just as important as the instrumental values. </p>
<p>While jobs can be created by many economic activities, what other kinds of production can generate these same intrinsic values?</p>
<p>Cultural capital is one. This is defined as the sum total of a country’s wealth or stock of art, heritage and other kind of cultural expression. Like other kinds of capital it needs to be invested in – otherwise it will depreciate and be devalued over time. </p>
<p>Public and private sponsorship and support of the arts is particularly important for those producers whose main focus is intrinsic value. Such cultural production is often challenging or disturbing and, while it has a big impact on collective thinking, may not be a financial or market success or may be distributed for free. Think, for example, of the role played by <a href="http://theculturetrip.com/africa/south-africa/articles/rhythmical-resistance-musicians-from-the-apartheid-era/">music</a> in the fight against apartheid.</p>
<p>While recognising and supporting the very important role that the cultural and creative industries play in the economy, I would argue that we shouldn’t lose sight of the unique intrinsic values that they generate. This includes the reflection and shaping of national and individual identities.</p><img src="https://counter.theconversation.com/content/52224/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Jen Snowball is a professor of Economics at Rhodes University. She is also a Senior Research Fellow at the South African Cultural Observatory. </span></em></p>South Africa is increasingly beginning to focus on the potential role cultural and creative industries can play in job creation and economic growth.Jen Snowball, Professor of Economics, Rhodes UniversityLicensed as Creative Commons – attribution, no derivatives.