The subtitles of these two books indicate how both occupy some part of this wide-ranging territory. The question explored in Patrick Kabanda’s book is “Can the arts advance development?”, whilst Michael Hutter’s volume is subtitled “Artistic invention and economic growth”. Both books are concerned with the ways in which the work of artists contributes to the advancement of the economy and society, and both deal with people’s experience of the arts as consumers in their everyday lives. But they approach these issues from very different standpoints. Kabanda’s agenda is the contribution that art and culture can make to economic development, particularly in the global South. Hutter, on the other hand, constructs a comprehensive theoretical framework for interpreting how artistic ideas have, throughout history, generated commercial production, and how the opposite may occur when economic growth has an impact on artistic invention.
The Creative Wealth of Nations is located within the extensive debate of recent years surrounding the role of culture in sustainable development, a debate which has paid particular attention to the creative and/or cultural industries as the arena in which the practice of culture is transformed into economic benefit. Indeed, the cultural industries have been portrayed as a potential driver of development in their own right, with the economic payoff they generate being complemented by social impacts in communities and by increased recognition of the importance of arts and culture in everyday life. In a more general sense it can be argued that culture is the context in which development occurs, such that any development strategy that ignores culture is bound to fall short. These propositions are strongly supported by Amartya Sen in his Foreword to the book, and repeated in endorsements of Kabanda’s work by two other Nobel Laureates in Economics (George Akerlof and the late Kenneth Arrow) that are reprinted on the back cover.
Over the last 40 years or so, economists have broadened the concept of ‘development’, taking it beyond mere economic growth to include measures of education, nutritional status, health, and environmental amenities. An important argument put forward in the book is that the concept should be widened further to embrace people’s experience and practice of their culture, most immediately reflected in the arts. An appeal to the development community to expand its world view in this way is not new, but it is put forward here with vigour and originality, tied very closely to a grass-roots sense of how art contributes to human welfare.
The author is an accomplished musician; his career began in his childhood in Uganda and led to a range of professional activities and qualifications in the United States. His personal background in the arts gives his writing a sense of freshness and immediacy; he argues his case from a strongly-felt personal conviction about the importance of art and culture in human affairs, both generally and specifically in the developing world. He cites a wide range of illustrative examples to support his view, drawn from many countries around the world, especially in Africa. Much of this evidence is of anecdotal value, and many of the sources quoted are located in media, journalism and the grey literature, i.e., materials and research produced by organisations outside of the traditional commercial or academic publishing and distribution channels. The exposition is polemical rather than scholarly – the book is written in a colloquial style that is readily accessible and indeed entertaining to the general reader. At the same time, it must be noted that the book has the potential to make a genuine contribution to the academic discourse – it can be seen as an extended practical case-study to complement more formal scholarly and policy discussion of a number of issues in the field.
In a charming nod towards his musical practice, Kabanda labels his chapters with titles such as “overture”, “suite”, “variations on a theme”, “rondo” and “finale”. He deals with a wide range of topics, including discussions of sustainability, economic and cultural value, environmental stewardship, trade in culture, artists’ exchanges, cultural tourism, issues of gender and disability, and the challenges of data collection. In one especially significant chapter he discusses the importance of the arts in education, or “cultivating creative minds for development”. With a wealth of illustrations, he demonstrates the pervasive impacts on children’s capabilities of exposure to and participation in art from an early age, and he argues persuasively for the allocation of increased resources to art education at all levels of school and post-school experience.