I went to the launch last week of Patrick Kabanda’s The Creative Wealth of Nations, and was lucky enough to hear the great Amartya Sen (who wrote the foreword) give an introduction. It’s a terrific book, looking at the role of the arts in human well-being and economic development.
Kabanda grew up in Uganda in troubled political times, won a scholarship and graduated from Juilliard, and is now a World Bank development expert. This interesting range of life experience has convinced him of the importance of culture and the arts for three reasons: the direct economic importance of the cultural sector, the role of culture in stimulating the imagination and generating ideas, and its encouragement of collaboration and social capital. If it isn’t creative, you don’t have much of an economy.
The book covers several perspectives: there is a section making the general case for the economic importance of the arts; one looking at trade including the role of digital and tourism; chapters on gender and on the role of the arts in mental health and urban life; and one about data, and the paucity of statistics and weaknesses in conceptualising and measuring the creative industries and their economic development role.
There is an astonishingly small literature on the economics of arts and culture, given their importance in our lives but also – patently – the economy In the UK for instance it’s only recently that we’ve come to debate the ‘creative sector’ even though it’s comparable in scale to the financial sector. There are exceptions – Tyler Cowen is a prominent one. I’ve wondered if this reflects an avoidance of some difficult economic questions concerning how to handle public goods, externalities and self-fulfilling phenomena but this hasn’t kept economists from analysing environmental issues or financial markets. So I’m not completely sure of the reason. It’s tempting to suggest it’s because economists so often either don’t have or (more often) hide their human hinterland because of the culture of economics itself. Perhaps it’s because of the absence of data, the gaps in our understanding of how to measure intangibles with public good characteristics), and indeed the unmeasurability of some aspects of the arts. (The book kindly quotes me riffing on this.)
This lacuna in the economics literature of course makes The Creative Wealth of Nations all the more welcome. I particularly liked the chapters on mental health – so important for economic development in some countries and, crucially, in some rapidly-growing mega-cities fraught with violence in their slum areas – and on cultural tourism, both very thought provoking. The chapter on digital considers the oligopoly in the music industry and advocates a competing platform (dTunes, music for development) to create a market for local musicians who are below the radar of the big players.
As well as being a fascinating exploration of an area too little considered in economics, the book is also a throughly enjoyable read. It’s really well written and constructed around an extended musical metaphor – above my head but much appreciated anyway.