PRACTICAL LINKAGES BETWEEN CULTURAL POLICY AND EDUCATION POLICY IN PROMOTING A CREATIVE WORKFORCE FOR YOUTH IN TANZANIA Charles Enock Mulimba Ruyembe Dip Ed (Marangu); B.A.(Ed) Hons (QUT); MA(Culture, Creativity & Entrepreneurship) (University of Leeds) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Creative Industries Faculty Queensland University of Technology 2015 KEYWORDS Creative industries, creative economy, knowledge based society, creative trident, creative workforce, youth/young people. ii ABSTRACT This study investigates the relationships between culture, employment and education to devise practical approaches that help Tanzania’s young people secure jobs, and survive in the creative workforce for the betterment of their future. A subsidiary question is how cultural policy can be best implemented while education policy is administered by a different ministry and does not develop necessary knowledge and skills in students. Young people in Tanzania have limited opportunity to exploit the richness of their cultural expressions and translate the knowledge and skills embedded into this for the betterment of their lives. Therefore the thesis particularly considers how to integrate Traditional Cultural Expressions (TCEs) in the ‘learning profile’1 of students (Tomlinson 2009, 28-34), and employ arts education (education in art or education through art) (Bamford et al. 2009, 21), as a tool for nurturing young people’s creative talents for their future sustainable employment. The overarching aim of the study is to provide a systematic, theoretically informed, and empirically rich knowledge of the integration of TCEs in arts education as a means of nurturing creativity and innovation and promoting a creative workforce for young people in Tanzania. An important intellectual backdrop for the study is provided by the contemporary concepts of creative industries and creative workforce (e.g. Cunningham 2002 and 2011). The study uses the notion suggested by the United Nations (2008) that the creative economy is multidisciplinary in nature; therefore, policies that cut across disciplines require inter- ministerial actions and institutional mechanisms to assist (United Nations 2008, 33-35). Similarly Hearn and Rooney (2008, 2) suggest, ‘fresh policy thinking is needed not only in the obvious knowledge … but all portfolios’. The study also draws on the late first President of Tanzania Mwalimu Nyerere’s (1985) philosophical inspiration of social change to re-consider cultural heritage and invest in learning and performance, which are both important parts of life. Hence, they have to flow from the date of birth until death (Nyerere 1985, 45-52) for individuals’ quality of life and the country’s economic development. The study uses mixed methods to explore the phenomenon and raises questions around building better connections between broader creative industries policy and practice, and education and training policy, respectively. Employing mixed methods (triangulation) helped in capturing 1 Tomlinson (2009) uses the term learning profile to summarise a range of factors (e.g. intelligence, gender and culture) to be considered in designing learning experiences, and argues for differentiated learning approaches. iii (the overlap) interrelatedness between the key research domains of culture, education and employment and ‘the reality’ of practices (Gray 2004, 16; Grobelnik and Mladenic 2006, 9- 10). As well, the researcher being an insider observer has offered an advantage in terms of accessing and deeper understanding of the relations and respondents’ views of their social and real world (Kanuha 2000, 439-442; Labaree 2002, 97; Malinowski 1922, 290). The findings of the thesis suggest there is a need for promoting a creative workforce in the broader creative industries sectors incorporating creative trident methodology to offer new creative employment opportunities (Cunningham and Higgs 2009, 192) for young people. Key findings and observations from the current study indicate that the integration of culture, education and employment in the light of promoting a creative workforce is a promising strategy for improving young people’s prospects in Tanzania. Furthermore, the thesis argues TCEs are part and parcel of culture, people’s wealth and capital. TCEs are a tool for nurturing young people’s creativity and innovation ability, and for their successful participation in open- ended careers as their future and sustainable employment and community development. There is a growing recognition and valuing of culture for job creation and sustainable community economic development from various international organisations and institutions. The current study adds a social change perspective incorporating: (1) a rare Tanzanian empirical study, which links young people’s education and careers with the contemporary concept of the creative industries; (2) the related analysis of the impact of broader cultural policy; and (3) an amendment of education and training policy including recommendations for its implementation. iv LIST OF RELEVANT PUBLICATIONS Ruyembe, C.E.M. (2014). ‘Sustainable creative career development pathways for young people in Tanzania: A case study’. International Journal of Social Sciences and Entrepreneurship, 1 (9), 366-377. Ruyembe, C.E.M. (2014). ‘Restructuring arts and cultural funding in Tanzania: Expectations and impasses’. International Journal of Social Sciences and Entrepreneurship, 1 (11), 672- 688. Ruyembe, C.E.M. (2013). ‘Integrating intangible cultural heritage elements and learning strategy: A case study’. In Lira, Sergio, Amoeda, Rogerio, & Pinheiro, Cristina (Eds.) Sharing Cultures 2013: Proceedings of the 3rd International Conference on Intangible Heritage, Green Lines Institute for Sustainable Development, Aveiro, Portugal, pp. 107-116. v TABLE OF CONTENTS Keywords…………………………………………………………………………………...ii Abstract.................................................................................................................................iii List of Relevant Publications……………………………………………………………….v Table of Contents………………………………………………………………………......vi List of Figures…………………………………………………………………………….xii List of Tables……………………………………………………………………………..xiii List of Abbreviations, Symbols and Acronyms..................................................................xiv Statement of Original Authorship.....................................................................................xvii Dedication.........................................................................................................................xvii Acknowledgments………………………………………………………………………...xix CHAPTER 1: INTRODUCTION.........................................................................................1 1.1 Background of study......................................................................................................1 1.2 Statement of the research quest.....................................................................................4 1.3 Objectives of the study..................................................................................................5 1.4 Context of the study......................................................................................................5 1.5 Research Question and Sub-questions..........................................................................7 1.5.1 Overarching Question.............................................................................................7 1.5.2 Sub-Questions.........................................................................................................7 1.6 Significance of the study...............................................................................................8 1.7 Definition of key concepts…………………………………………………………….8 1.8 Organisation of the study…………………………………………………………….11 1.9 Concluding Remarks…………………………………………………………….......16 CHAPTER 2: LITERATURE REVIEW........................................................................17 2.1Introduction..................................................................................................................17 2.2 Philosophical background...........................................................................................17 2.3 Contemporary theories for youth, arts and culture.....................................................19 vi 2.3.1Youth.......................................................................................................................19 2.3.2 Arts and Culture in Tanzania..................................................................................20 2.3.3 Arts and Culture funding in Tanzania.................................................................25 2.3.4 Arts and Culture Marketing in Tanzania.............................................................29 2.4 The Creative industries...............................................................................................31 2.4.1Creativity and Creative Industries..............................................................................37 2.4.2 Skills and qualification development.......................................................................38 2.5 Creative Industries in developing nations...................................................................42 2.5.1 Up take in developing nations................................................................................42 2.5.2 Research trends......................................................................................................44