Researcher
The Creative and Cultural Industries of Jozi: A Mapping Study
Johannesburg, one of Gauteng Province’s trio of cities alongside Tshwane and Ekurhuleni, stands as the economic powerhouse of South Africa, boasting the seventh-largest economy on the continent. Referred to as the “financial and technological nerve of Africa,” Gauteng Province is primed for growth according to the Gauteng 2030 report, pinpointing Agro-Processing, Creative and Cultural Industries, and high-tech sectors as key areas of potential. Notably, the creative economy, including gaming and digital realms, emerges as a focal point among the sectors earmarked for significant employment opportunities.
Despite its pivotal role in Africa’s urban landscape, Johannesburg often finds itself overlooked by urban researchers, as noted by Rogerson and Rogerson (2015). Its primary challenge lies in sustaining economic growth while generating new employment avenues. With a population of 5.5 million, 40% of whom are within the working age bracket of 25 to 44 years, Johannesburg’s significance as a destination for youth seeking opportunities becomes evident. This influx contributes to a stark statistic: a youth unemployment rate estimated at 46%, underscoring the urgent need for initiatives to address this pressing issue (CoJ, 2021).
This mapping study forms part of my DPhil in Digital Transformation which I am completing at the Johannesburg Business School (University of Johannesburg). My topic is: “A Systems Thinking Approach to the Growth of the Creative Economy of the City of Johannesburg”.
The Creative and Cultural Industries CCIs) are a dynamic, non-hierarchical, flat working model based on a distributed network as shown in Figure 1 below:
The industry operates neither in a centralised manner akin to the first and second industrial revolutions, nor in a fully decentralised manner like the third industrial revolution. Instead, it functions in a similar way to the internet. Decision-making isn’t centralised, and there’s no rigid structure for education, career progression, or pricing. Success can be achieved with or without formal education, and pricing for products and services varies greatly, for example an artwork could cost R1500 or R500 000 even if the artist has had the same education and the same time within the sector. But even this rule is not standardised practice and depends on the sector. An architect must study and have their masters to practice, whereas an animator does not necessarily have to study, but must understand all the relevant programs related to animation and their work. This lack of standardisation makes the industry complex to manage and understand, presenting challenges for strategic growth and a tendency towards linear thinking and problem solving. In my opinion, the solution does not lie in trying to standardise everything but rather in trying to understand the industry’s complexity and to acknowledge that even with all the diversity within this industry; we must start seeing the relationships, networks and bigger picture.
A systems thinking approach could offer solutions to navigate the industry’s complexity, diversity, and constant evolution. While the research may culminate in a PhD, the goal isn’t purely academic; it’s about sharing ideas, information, and problem-solving techniques within the industry to collectively strategise for growth and success.
In a non-hierarchical industry, waiting for authority alone to solve our problems seems counterproductive. Instead, we must explore collaborative approaches where we unite as equals to bolster and advance our industry. Centralised entities like institutions and government must grasp the essence of our industry and recognise the importance of all voices in crafting a successful growth strategy.
So what is a distributed network?
Have a look at figure 2 below which is a visual representation of the 3d nature of a distributed network, however, it is not static but rather organic, and is continually moving and changing. Each creative/cultural professional working as a practitioner, or within the value chain of the industry, is a single nodal point (circle) in the figure. The lines are moments of connection between creative/cultural professionals. These connections have to be mutually beneficial and can last for a short period (like a project), or can be ongoing for longer periods. When they are no longer mutually beneficial, the connection is broken. Each nodal point can have numerous connections at any given time.
The majority of the industry is made up of freelancers, small businesses and micro entrepreneurs working on their networks and connections, but often not realising that the way they work is exactly the same as how thousands of others are working within the industry – focused on the next client, gig, exhibition, project. Their intention is often not to grow large businesses, but rather to sustain themselves, or their small businesses and just carry on doing what they do. Growth strategies cannot be purely based on enabling the freelancers and small businesses to grow in size and profitability – this is short sighted and completely dismisses the nature of the individuals working within the industry, as well as the nature of the distributed network which is not trying to create centralised nodal hierarchical solutions. Of course some businesses will grow but that is not the case for most and it is not simply because they cannot grow but rather because they choose not to grow. The nature of creativity and culture needs flexibility, change and innovation at its core, the larger a business gets, the harder to maintain the same level of flexibility, diversity, and dynamism. The distributed network way of work offers the most flexibility and diversity of the three networking options (Ingham, 2019). A creative person who starts a business does not want to sit in an office dealing with HR, admin, and financial management; they often want to be plugged into the creative process. The vision is often not hierarchical – even within their own organisations. Staying small is often a choice and not a limitation.
While the CCIs work within a distributed network, there are clustering tendencies which lead to creative hubs, clusters and sub groups. These subgroups also tend to be organic and change but are intensely connected areas where many nodal points gather. This tends to form because individuals gravitate towards those who are already well networked and connected (Ingham, 2019). Figure 3 below is a visual representation of this clustering.
If we are to grow the CCIs of CoJ what is needed is a clearer sense of what it is we are growing and how that can have a positive impact on the sustainability and flourishing of all the individual nodal points within this distributed network. There is not going to be a simple solution, but rather a complex understanding with a shared vision towards a solution.
Systems thinking is about acknowledging complexity within problem solving and seeing the full picture rather than trying to find linear and immediate solutions. It takes time and an acknowledgement of all the moving parts and how they impact one another.
The clustering points of connection are very important as they are where all the individual nodal points can be further enabled while still maintaining their individuality and autonomy.
This mapping study is an open source attempt to gather all the clusters into one map for CCIs of CoJ, so we can start seeing what is available for enabling creatives and cultural professionals to flourish.
This has been broken down into the following categories:
1. Tertiary Institutions, colleges, education in the CCIs
2. Capacity Training Organisations (offering workshops) in the CCIs
3. Creative Hubs – (offering studio spaces)
4. Makerspaces and printing studios (offering access to machinery and tools – as well as making services)
5. Access to market (theatres, galleries, live music, clubs, etc.)
6. Funding bodies, embassies, international cultural organisations.
The interactive Google Maps went live in March 2024 and has currently (April 2024) had over 3000 views and had over 120 clusters/subgroups and hubs that enable the CCIs added. I cannot do this alone and am asking for your help to add any places or organisations that may be missing. You can add directly to the map as it is live and open source, or you can comment on this blog and I will add places for you. If you see value in this map you can use it on your website or in any way you feel will benefit your network within the CCIs. Research is a tool towards understanding and it is most impactful when the people involved in that research are engaged and the information is shared. I think this is even more true within the CCIs. So, please, get involved!
I’m an email away of you have any questions – m9art2020@outlook.com
- Baran, P. (1964). On Distributed Communications.
- CoJ (2021). Profile: City of Johannesburg.
- Gauteng Province. (n.d.). Northern Corridor Gauteng 2030 and Beyond.
- Lee, M. H., Yun, J. H. J., Pyka, A., Won, D. K., Kodama, F., Schiuma, G., Park, H. S., Jeon, J., Park, K. B., Jung, K. H., Yan, M. R., Lee, S. Y., & Zhao, X. (2018). How to respond to the Fourth Industrial Revolution, or the second information technology revolution? Dynamic new combinations between technology, market, and society through open innovation. Journal of Open Innovation: Technology, Market, and Complexity, 4(3). https://doi.org/10.3390/joitmc4030021
- Ingham, J. (2019). Organising People Through Distributed Networks. https://www.linkedin.com/pulse/organising-people-through-distributed-networks-jon-ingham/
- Rogerson, C. M., & Rogerson, J. M. (2015). Johannesburg 2030: The Economic Contours of a “Linking Global City”. American Behavioral Scientist, 59(3), 347–368. https://doi.org/10.1177/0002764214550303
