"This show will focus on the business of music festivals. Our guest is Mr Willie Reetsang, a professional musician, art and culture activist, and performing arts educator. He is the organizer of the Kgalagadi Jazz Festival, holding on 22nd March 2019 in Kuruman, Northern Cape. We will explore what it takes to organize big music festivals; the business and economics of music festivals; and the socio-political impact of such festivals. Willie holds a Master of Management degree from Wits and a number of qualifications in art and culture. He has organized a number of music festivals.

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Welcome to Art Means Business. This week our conversation is about the built environment, its role in Africa and how it is related to architecture and interior design. Furthermore, we explore how the built environment defines our identities in terms of who we are and how it affects our well-being, in other words our mental health, physical health and spirituality, while we also explore the business opportunities within this environment. Finally, we look at the trends within this environment and how governments are responding in terms of policy towards it. To help us discuss this is our guest Potlako Gesenelwe, who’s an expert in this field.

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Welcome to Art Means Business. This week our conversation is about the built environment, its role in Africa and how it is related to architecture and interior design. Furthermore, we explore how the built environment defines our identities in terms of who we are and how it affects our well-being, in other words our mental health, physical health and spirituality, while we also explore the business opportunities within this environment. Finally, we look at the trends within this environment and how governments are responding in terms of policy towards it. To help us discuss this is our guest Potlako Gesenelwe, who’s an expert in this field.

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Welcome to Art means business, the show that talks about everything creative, everything African and everything art.
This week we are at the tête-à-tête exhibition at the Absa Gallery downtown Johannesburg. Joining us to talk about this exhibition is Thabo Sishoka, Who is the Absa art assistant curator and Candice Allison who is the director of Bag Factory artist studio in Johannesburg.
We explore what it’s all about, How Absa and the Bag factory came into partnership, what it has amounted to and what they are currently working on.
We also explore the concept of Art in the African context, as well as understanding the impact government would play if they would fund art more, as well as understanding how education from a young age would change the narrative of art in Africa and understanding all the dynamics of business/entrepreneurship in art.

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Welcome to Art means business, the show that talks about everything creative, everything African and everything art.
This week we are at the tête-à-tête exhibition at the Absa Gallery downtown Johannesburg. Joining us to talk about this exhibition is Thabo Sishoka, Who is the Absa art assistant curator and Candice Allison who is the director of Bag Factory artist studio in Johannesburg.
We explore what it’s all about, How Absa and the Bag factory came into partnership, what it has amounted to and what they are currently working on.
We also explore the concept of Art in the African context, as well as understanding the impact government would play if they would fund art more, as well as understanding how education from a young age would change the narrative of art in Africa and understanding all the dynamics of business/entrepreneurship in art.

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This episode is sponsored by
· Anchor: The easiest way to make a podcast. https://anchor.fm/app

Support this podcast: https://anchor.fm/art-means-business/support

Welcome to Art means business, the show that talks about everything creative, everything African and everything art.
This week we are at the tête-à-tête exhibition at the Absa Gallery downtown Johannesburg. Joining us to talk about this exhibition is Thabo Sishoka, Who is the Absa art assistant curator and Candice Allison who is the director of Bag Factory artist studio in Johannesburg.
We explore what it’s all about, How Absa and the Bag factory came into partnership, what it has amounted to and what they are currently working on.
We also explore the concept of Art in the African context, as well as understanding the impact government would play if they would fund art more, as well as understanding how education from a young age would change the narrative of art in Africa and understanding all the dynamics of business/entrepreneurship in art.

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This episode is sponsored by
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Support this podcast: https://anchor.fm/art-means-business/support

Today we are looking at The Role of the Built Environment in Africa, its role in shaping our identity, frame of reference (i.e. how we look at the world) and well-being, and we also explore business opportunities within the sector (across the value chain).

As usual we have an able professional in the field to unpack this with us. Her name is Potlako Gasennelwe.

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Today we explore the question “How can we use creative industries for the economic regeneration of urban regions on our continent. We will tackle the question in 3 ways. Firstly, by examining the international debates about the effectiveness of the creative projects as tools for development. We also deliberate on why authorities should put more importance on policies guiding creative industries and conclude by looking at a South African case study – in which reflect on the evolution of creative industries in Johannesburg and Cape Town.

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Today we discuss the role of culture in developing sustainable cities. We look at the link between culture and creativity and how the two can shape cities into sustainable spaces that are sensitive to the diverse identities of the cities' residents. To help us unpack this we have Zayd Minty, a cultural management professional and researcher, who has worked extensively in this area, including penning the only African policy on culture and sustainable cities. He is currently reading towards a PhD

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Today on Art Means Business we explore the world of buying art for investment. Though relatively new on our continent, the business of buying/investing in the art (particularly black artists) is growing fast. As Art Historian Theminkosi Goniwe points out in his Mail & Guardian article of the 7th of September 2018, there has been a steady increase in exhibitions and art awards by black artists in recent years. These exhibitions are showcase splendid works and the presentation of these works to professional – international standards. “The prices and sales of artworks by select black artists have also swollen. And art audiences are feasting on these artworks, with some dealers and collectors competing overselling and possessing them,” [Theminkosi Goniwe]. Not only is there an increase in the number of works by black artists but there is also a rising black middle and upper class that is showing interest in the visuals arts. From appreciators to collectors, patrons and enthusiasts who are setting up art consultancies, working with (or establishing) art galleries.

Our conversation today unpacks the world investment art in the context of growing interest by the people of the African continent. We ask questions such as, how does the industry operate? What are the dos and don’ts when seeking to enter the world of investment art? What are the trends? And many more. To help us discuss this subject we have in our studio Thabo Seshoka. Thabo Seshoka is the Absa Assistant Art Curator. Thabo Seshoka is responsible for the day-to-day operations of the Absa Gallery, while concurrently curating one of the largest Corporate Art Collections globally. Prior to joining the Absa Gallery, Thabo was the Acting Chief Curator and the Head of an Interdisciplinary Museum and it’s curator of Cultural History. He holds a Bachelor of Social Science (Honours) degree from Rhodes University (South Africa), a Masters of Arts degree from the Nelson Mandela University (South Africa) and is current

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Nonhlanhla rides solo on this episode of Art Means Business, she hosted the delegates of The Female Artists Association of Nigeria (FEEAN). The executives of the association visiting South Africa in celebration of the 58th-year independence of the federal republic of Nigeria. We are reflecting 58 years of independence and chatting about business relations between the Republic of South Africa and the Federal Republic of Nigeria.
FEEAN was born out of the dire need of the female artists who in the past find it difficult to come out during exhibitions with their male counterparts. Most of them after marriage or graduation abandon the profession for other things. Some female professional artists came together to channel their different challenges in society through art exhibitions, seminars, workshops and training for the younger ones, and also to advocate against inequality, rape, genital mutilation, violence, child abuse, sex slaves at conflict areas, adoption and so on.

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Today Africa, we draw your attention to the beautiful country of Cote d’Ivoire and what is happening in that countries art scene.
But first a bit of context.
For those of you who don’t know - Cote d’Ivoire attained independence from the French on the 7th of August 1960. Her first president was Felix Houphouet-Boigny, who ruled the country until 1993. After Felix Houphouet-Boigny ended, Cote d’Ivoire has experienced a coup d’etat, in 1999, and two religious - grounded civil wars. The first two took place between 2002 and 2007 and the second during 2010 – 2011.
Cote d’Ivoire has an income per capita (US$1014.4). She has the largest economy on the West African Economic and Monetary Union constituting 40% of the monetary union’s total GDP. She is the largest exporter of cocoa beans averaging US$2, 53 billion in earnings per year. Cote d’Ivoire also has 100,000 rubber farmers who earned an average of US$105 million per year. The country’s economy is largely market-based and still relies heavily on agriculture, with smallholder cash crop production being dominant.
This dependence on agriculture has encouraged Cote d’Ivoire to look at diversifying the economy. One of the ways in which the country is doing this is by developing creative industries.
To help us unpack this topic I have in the studio Mr. Behila Angama, the Cultural Attache of the Embassy of Cote d’Ivoire in South Africa

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Today we get up close and personal with artist Izuu Muoneme – a native Anambra State in South East Nigeria.

Izuu or Izuchukwu Muoneme in full was born in 1985. And his passion for the arts started at an early age. He trained as a painter at Nnamdi Azikiwe University. But later went to explore other mediums. For example his use of paper and aluminum cans to explore various art forms in his collages, mosaics, and installation. In his works, he uses captivating vibrant colors and creative patterns as well as employing abstract forms in his creative expressions.

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Tony Kgoroge renowned actor and cultural activist was our guest on the show today. We explored the challenges that face Africa’s creatives – from their inability to protect their intellectual property to royalties, lack of education and training and many more. Speaking in his capacity as the Chairman of The Creative and Cultural Industries Federation of South Africa (CCIFSA), he talked us through the importance of cultural bodies/ organizations and addressing these challenges and charting a way forward.

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Today’s conversation is about the relationship between Culture, Heritage, and the creative economy. We started our conversation today with a song by an Ethiopian all-girl band Yegna ft Aster Aweke. A song that talks about young women – courageous and finding themselves in the 21st Century … But rooted in their heritage and culture … Exemplified by featuring Aster Aweke … young Ethiopia meeting ‘old’ Ethiopia….
An apt opener to our conversation about culture, heritage, and the creative economy.
To help us discuss this subject today we have in our studio Tshepo Koka.
Tshepo Koka is an independent research professional – specifically focusing on culture and heritage. With a career spanning over 20 years in different sectors but culture and heritage has been central to his life. 

Tshepo or Star as he is affectionately known studied Economics in the United States and as a result found a calling in Econometrics. He began his career in banking and money trading internationally. At the dawn of democracy, he was thrust into the civil service as there was a need for black expertise in government at that. He then migrated to the academic world, primarily giving research support and guidance to young black people across multiple disciplines and institutions. His experience at all levels of corporate, civil service and academia sharpened his outlook on matters of policy formulation, socio-economic development heritage, and culture.

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Today's show is about understanding what Creative Economy is and unpacking it. We'll also look at why Creative Economy is important by discussing its contribution to the economy and its cultural and social role. Alongside the discussion, we'll take a musical journey through the sounds of Bobby Mcferrin, Tania Maria, Ladysmith Black Mambazo, and Khandja Nin.

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Today’s show is about outlining phase 2 of the journey that is Art Means Business. We introduce co-host Sami Modiba and take this opportunity to explore some of his thoughts and what he brings to the conversation. We tackle issues such as defining what is blackness, Africaness and its importance in the conversation around Art and Business. We ask questions about who defines quality: Who defines sellability? Who defines the price? We reflect on exclusivity versus growing our African art consumer base. The interaction between our authenticity and the ingenuity of our art versus its sellability. Listen in and have a taste of the conversations that are too come.

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We started the show with the sounds of Toto – Africa. One of my favourites and my guests favourite.
In the studio we have Daniel Mosaka; Not only have Daniel and I worked together in the Arts space – Daniel has an amazing CV, history in the African Arts scene. But what makes Daniel an exciting guest is that he has been in involved in all areas of the arts:
Daniel Rankadi Mosako is an art practitioner and UNISA PhD student candidate. He majored in Fine Arts, and has two Honours degrees in Information Science and in History of Art, as well as a Postgraduate Diploma in Museum and Heritage Studies. He was conferred two Masters Degrees in Fine Arts and in Museum and Heritage Studies. He is a refined art [curator, educator, critic, and researcher].
His art philosophy is about the intricate and striking patterns that are reflective of a double-edged sword of social cohesion benefits and challenges. His art elevates questions about subliminal exclusion and partial inclusion practices and patterns that often confront people living in cosmopolitan areas in South Africa. In his art he uses recognisable patterns as a metaphoric representation of empathetic expression for those whose human rights are transgressed.
His body of work is a reflection of years of study and observations made on perceptions and perspectives on social inclusions and exclusion, in which he depicts visual angles and explorations of interlocked motifs and patterns. In his words he states: “I exclude images of human figure in my works of art to make loud comments about the absence of what needs to be present, being cohesive social environments”.

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In today’s Show we want to get a better understanding what is the state of the creative economy Africa. We look at what is working and what is not for us. As well as compare it to what is happening elsewhere in the world. And ask the question what do we need to do to make it better. The world’s creative
economy today makes up 3% of the world’s GDP. With all 11 cultural sectors combined generating US$2,250 billion in revenue.
These figures exceeds those of telecommunications services which comes in at $1,570 billion globally and even surpassed the GDP of India which is sitting at US$1,900 billion. The creative industries generated 29,5 million jobs which employ about 1% of the world’s active population. In fact, the creative industries employ more people thank the automotive industry in the United States, Europe and Japan combined.

Africa’s own stats combined with those of the middle east see the two ‘continents’ (so to speak) jointly generating US $58
billion +/- 3% of the global revenue and creating 2,4 million jobs, +/- 8% of the global creative industry job pool.

Africa’s share of the global creative economy stands at less

Sami Modiba is an attorney and conveyancer. He holds LLM in Human Rights & Constitutional Practice. He has worked in the development sector for ten years, mainly for the Open Society Initiative for Southern Africa (OSISA), advocating for policy and legislative reform and/or development on governance, socio-economic rights, law, media, ICTs, economy, education, language rights, and HIV and AIDS. He is currently consulting in the area of transport planning and land use. His passion is art and wanted to study fine arts upon matriculating; but due to lack of appreciation of art’s contribution to the economy, cultural development and spiritual transcendence within African communities, he was not supported by his family to do so. He continues to express this love through his love for architecture, visual and performing arts.

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The show introduces to the Africa Business Radio platform the topic of the ‘creative economy’. In particular, its relevance to Africa’s economic and development agenda. The show explores the potential of the creative industry to provide new opportunities for developing countries, more importantly, the African continent.
Educational Outcomes:
•An understanding of the concept of the creative economy.
•Explore how art and business are connected
•Exploring the ‘state’ of the creative economy in Africa today.
Studio Guests: Professor Mandivamba Rukuni

On our show, today we want to talk more about the concept of the creative economy. The concept was 1st introduced by the UNCTAD in 2016. It is defined as the interface between creativity, culture, economics and technology – as expressed in the ability to create and circulate intellectual capital, has the potential to generate income, jobs and exports while at the same time promoting social inclusion, cultural diversity and human development.

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