1.2RationaleofTheStudy

Based on this background, CDEA, through the Artistic Rights project supported by the Royal Norwegian Embassy in Tanzania carried out a mapping study to establish the status of the artist in Tanzania with a focus on four areas namely: training, social and economic conditions, and financialinclusionforartists.

Asaresultofthismappingstudy,theprojectwillproducepolicybriefstosupportpolicydialogues that will focus on issues for public and private sector attention areas namely: training needs for artists, the social needs of artists, the labour conditions of artists and the financial inclusion for artists.ThisstudyisalsolinkedtoGoal4-PromoteHumanRightsandFundamentalFreedomsof the 2005 UNESCO Convention for the Protection and Promotion of the Diversity of Cultural Expressions. This goal proposes policies and measures to promote and protect the social and economic rights of artists and cultural professionals CDEA will also share the results of these mappingstudieswiththepotentialstakeholders.

1.3Objectives

GiventhescaleandscopeofthestudytotheartistinTanzania,thestudyinvitedrepresentatives from the arts federations namely: art and craft, film, music and performing arts to share their views in relation to the challenges faced by artists in the areas of training, social and economic conditions, and financial inclusion for artists This is because the artists federations are the representativevoiceforartistsinTanzaniaintheirrespectivesub-sectors.

ThestudyusedtheUNESCORecommendationconcerningthestatusoftheartistasbenchmanto establishthesituationinTanzania

1.4Researchquestions

1.4.1Whatisthestatusof trainingandeducationfortheartistinTanzania?

1.4.2DoartistsinTanzaniareceivefairenumerationfortheirwork?

1.4.3IsthereaconduciveenvironmentforaccesstofinancingforartistsinTanzania?

1.4.4Doartistsenjoytheirintellectualpropertyrights?

1.4.5Doartistsbenefitfromsocialsecurityprogrammes?

1.4.6Whatarethebenefitsofartistsbelongingtoartsassociationandorfederations?

1.4.7WhatisthementalhealthwellbeingofartistsinTanzania?

2.0METHODOLOGY

2.1Scope

GiventhescaleandscopeofthestudytotheartistinTanzania,thestudyinvitedrepresentatives from the arts federations namely: art and craft, film, music and performing arts to share their views in relation to the challenges faced by artists in the areas of training, social and economic conditions, and financial inclusion for artists. This is because the artists federations are the representativevoiceforartistsinTanzaniaintheirrespectivesub-sectors.

The study used the UNESCO Recommendation concerning the status of the artist as benchman toestablishthesituationinTanzania.

2.2StudyDesign

Inundertakingthestudy,CDEAcollectedprimaryandsecondarydatarelatedtothestatusofthe artist in mainland Tanzania. Available literature including other sector policies like education, labour,financeandtechnologywasanalysed.Tofillanygapsintheliteraturereviewandmakea deeper assessment of the status of the artist in Tanzania, a focus group discussion (FGD) was heldwithartsfederationleadersandselectedartsorganisationrepresentatives

The literature review and FGD data was analysed and patterns found allowing CDEA to establish the policy and legislative gaps, the challenges across artistic practices in the areas of: training, socialandeconomicconditions,andfinancialinclusionforartists

The findings form an entry point for planning for more focused policy roundtables in the near future.

2.3DataCollectionMethods

CDEAused a FocusGroup Discussion(FGD) asa qualitativeresearchmethod and data collection techniqueinwhichaselectedgroupofpeopleheldanin-depthconversationonthestatusofthe artistinTanzania.TheFGDwasmoderatedbyCDEA’sProgrammeOfficerforArtistsRights,while CDEA’s Creative Economy Manager was the note-taker. The FGD included 12 participants who, including conscious artists, leaders of four arts federations and renowned leaders and members ofvariousartandculturemanagementorganisationsinDaressalaam.

The FGD was moderated by CDEA’s Programme Officer for Artists Rights, while CDEA’s Creative EconomyManagerwasthenote-taker TheFGDincluded12participantswho,includingconscious artists, leaders of four arts federations and renowned leaders and members of various art and culturemanagementorganisationsinDaressalaam.

2.4Limitation

This research was able to have an embryonic understanding of the status of the artist in Tanzania,albeitwithsignificantlimitations.

Firstly, the mapping study had been designed to include a survey tool to reach many artists in Tanzania. However, the low responsiveness of the survey necessitated a change in the research design to focus on arts federations, who are the representative voice of artists, as well as arts organisationsbasedinDaresSalaam.

Secondly, the limited budget did not enable CDEA to have a wider consultation with artists in Tanzania.Nevertheless,theresearchissignificantinthatitprovideskeyfindingsthatpresentan opportunity to plan for more focused policy roundtables with key stakeholders from government andartsfederationleaders.

Thirdly,othercommonlimitationsfoundalongthecourseoftheresearchwere:

SomepotentialparticipantsoftheFGDweretoobusyduringthewindowofthisresearch

The absence of disaggregated data on the contribution of the arts sector to GDP. The contribution of the sector is aggregated under the activity - Arts, entertainment and recreationservices

TheabsenceoflabourdatafortheartistsinTanzania

3.0CONCEPTUALIZINGTHEARTSINTANZANIA

3.1DefinitionalIssuesOfTheOfTheArtistInTanzania

Artist; any person who creates or gives creative expression to or re-creates works of art, who considershisartisticcreationtobeanessentialpartofhislife,whocontributesinhiswaytothe developmentofartandcultureandwhoisoraskstoberecognizedasanartist

Status; signifies on one hand the regard accorded to artists in a society and on the other hand therecognitionofthelibertiesandrights,includingmoral,economic,andsocialrightsthatartists shouldenjoy

Recommendations; are legal instruments in which the UNESCO General Conference formulates principles and norms for the international regulation of particular questions. Member States, civil society, artists, cultural professionals, the private sector and non-governmental organisations havearoletoplayintheirimplementationandmonitoringaroundtheworld.

3.2FromtheArtstotheCulturalandCreativeIndustries(CCI)

While the 1980 UNESCO Recommendation Concerning the Status of the artist, uses the term, artist,itshouldbenotedthatbetween1970and2023,therehasbeenachronologyoftermsthat describecreativityandtheemergenceoftermsasseeninFigure1.

While in the 80s the term used by UNESCO was the arts, by time 2005 UNESCO convention was ratifiedtheartsweredescribesastheculturalexpressionanddescribesculturalindustriesas:‘to industries producing and distributing cultural goods or service…It refers to activities, goods and services,whichatthetimetheyareconsideredasaspecificattribute,useorpurpose,embodyor convey cultural expressions, irrespective of the commercial value they may have’[1] In 2008, UNESCO defined creative industries in terms of any “knowledge-based activities that produce tangible goods or intangible intellectual or artistic services with creative content, economic value andmarketobjectives”(UNCTAD,2008,p.4).

The UK government, using the DMCS classification model,[2] describes the creative industries as ‘those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property’ Currently, UNESCO describes the broad landscape where creativity takes place as cultural and creative sectors, while the international community has adopted the concept of cultural and creative industries. UNCTAD however combines the UNESCO and UK DCMS definitionsandstatesthatthecreativeindustries:

Are the cycles of creation, production, and distribution of goods and services that use creativityandintellectualcapitalasprimaryinputs

Constitute a set of knowledge-based activities, focused on but not limited to arts, potentiallygeneratingrevenuesfromtradeandintellectualpropertyrights.

Comprise tangible products and intangible intellectual or artistic services with creative content,economicvalueandmarketobjectives.

Areatthecrossroadamongtheartisan,servicesandindustrialsectors;and Constituteanewdynamicsectorinworldtrade.

It should be noted that, there is no agreed upon African classification model for the culture and creative industries. In Tanzania, the usage of the term ‘the arts’ which is associated with Throsby’s concentric circles model[3], is more prominent when linked to cultural expression. The concept of ‘culture’ is mostly associated to intangible heritage and language. However, Tanzania also embraces the terminology of copyright industries associated with the WIPO copyright classification model[4]. With reference to Table 1, below, it can be deduced that Tanzania’s classificationfortheartsandculturalexpressionsappliesahybridmodeloftheConcentricCircles model,WIPOcopyrightmodelandUNCTADmodel.

4.0THEPOLICYANDLEGISLATIVELANDSCAPEFORARTSTHETANZANIA

4.1Internationallevel

The UNCTAD Creative Economy Outlook Report (2022) indicates that new and emerging technologies have been transforming the creative economy. Artificial intelligence, for example, is usedtopersonalizemusicandfilmpreferencesbysomeonlineplatforms Additivemanufacturing, or 3D printing, can be used to produce crafts. Augmented reality allows for fashion shows to feature apparently invisible models. Blockchain technology (i.e., non-fungible tokens) can help certify originality and ownership of unique artworks. Virtual reality can promote an immersive experience in computer games and performing arts (UNCTAD, 2022b) UNCTAD also points out thattheCOVID-19pandemicacceleratedtheshifttowardse-commerceanddigitalplatformsand the scope for the transformation of the creative economy. This scenario also reflected on the Tanzania scene where we see the emergence of organizations like OnaStories that are fusing AI and Augmented Reality in promoting the rich heritage on scarification (chale) and wood carving (vinyago)withtheNationalMuseumofTanzania.

4.2ContinentalLevel

The AU Agenda 2063 envisions a long-term 50 year development trajectory for Africa to accommodate key developments on the continent:ongoing structural transformations; increased peace and reduction in the number of conflicts; renewed economic growth and social progress; the need for people centred development, gender equality and youth empowerment; changing global contexts such as increased globalization and the ICT revolution; the increased unity of Africa; and emerging development and investment opportunities in the cultural and creative industries (CCIs). Importantly Agenda 2063 identifies key Flagship Programmes which can boost Africa’s economic growth and development and lead to the rapid transformation of the continent.Important considerations fordevelopment of the creative sector:the establishment of the African Continental Free Trade Area (AfCFTA) to accelerate intra-African trade and boost Africa’s trading position in the global marketplace; and the effective implementation of the PanAfrican Payment and Settlement System (PAPSS) through AfCFTA at the regional and national levels to enhance e-commerce of creative goods and services. These developments open opportunitiesforcross-bordertradeforartistsandcreativeentrepreneursinTanzania

The Charter for African Cultural Renaissance (2006) remains a key document covering cultural policyonthecontinentfortheAU.TheCharterforAfricanCulturalRenaissanceisAfrica’spremier cultural policy affirming that African culture is meaningless unless it plays a full part in the political, economic and social liberation struggle, and in the rehabilitation and unification efforts and that there is no limit to the cultural development of a people It is an instrument developed to empower Member States to promote and reinforce Pan-Africanism, cultural renewal and identityincludingthecurrentworktowardsAfricanmuseumsandrepatriationofAfricanheritage. Promoting the status of the artist in Tanzania can draw inspiration from the Charter’s objectives which promote inter-alia the dignity of African men and women as well as the popular foundations of their culture; freedom of expression and cultural democracy; and African cultural heritage through preservation, restoration and rehabilitation; traditional knowledge systems as a condition for better understanding and preservation of cultural and natural heritage; the role of cultureinpromotingpeaceandgoodgovernance

The Statute of the African audio-visual and cinema commission (2019) established the African Audiovisual and Cinema Commission (AACC) as a specialised agency of the African Union to develop and strengthen the African audiovisual and cinema industry; encourage the establishment of appropriate structures at the national, regional and continental levels to strengthencooperationbetweenAfricanStatesintheareaofaudiovisualandcinema.Inaddition, through the use of audiovisual and cinematic expressions, the AACC will promote creativity/innovation,integration,solidarity,respectofvalues,mutualunderstanding,fosterpeace and promote a positive image of Africa. The AACC Temporary Secretariat is based in Nairobi, Kenya will be to advocate for the ratification of the AACC Statute. In order for the Statute to enter into force and for the Commission’s organs to be fully operational it requires fifteen (15) ratificationsbyMemberStates TheTanzaniaFilmBoard(TFM)cantaketheleadinensuringthe governmentratifiesthestatuesothatitopensupopportunitiesforfilmmakersinTanzania.

TheRevisedAUPlanofActionforCulturalandCreativeIndustries(2008)guidesthedevelopment and strengthening of the African CCIs in order to facilitate delivery of wider social and economic impact. It recognizes the role of the sector in engendering inclusive development, good governance, economic empowerment, poverty alleviation, job creation, trade and regional integration.TheplansetsouttheprioritiesandpathsforthedevelopmentofAfricanculturaland creativeindustriesandprovidesaframeworkthatallowsforeffectivecoordinationofinputsfrom Member States, strategic partners and stakeholders towards a common goal. The AU Plan of Action seeks to support Member States to set up cultural creative industry units with responsibility for coordinating the implementation of the Plan of Action. The AU Plan of Action Objectives can be used as a guide in making policy and legislation reform recommendations in theUnitedRepublicofTanzania.