Abstract
The 21st century has led to the emergence of new economies like creative,
circular, and green economies, but South Africa faces challenges in
practical implementation. This study explores the role of entrepreneurship
training in art and design departments at Johannesburg universities in
fostering the creative economy. A qualitative approach was used, with a
semi-structured interview design. The study found that incorporating
creative entrepreneurship courses into art and design curricula is vital but
under-implemented. Experts advocate for mandatory, practical courses for
art students and aspiring creatives. However, there is a gap between
academic departments and Johannesburg’s creative industry due to
institutional silos and academic challenges. Support for innovative courses
is lacking, with efforts often unacknowledged. Concerns include outdated
information and limited exposure to professional networks. Bridging this
divide requires rethinking academic structures, fostering industry
collaboration, and providing adequate support for innovative endeavours.
Recommendations include the quadruple helix model, integrating
entrepreneurship training across all art and design departments, delivering
practical instruction by industry-experienced entrepreneurs, involving
students and young entrepreneurs for mentorship and connections,
conducting training in non-traditional settings, and emphasising a practical
understanding of the creative economy, including network dynamics and
hub significance, aligning with a systems thinking approach.

1.  Introduction

1.1.      Background

The 21^st century has brought about technological, social, and environmental changes, which have forced a re-evaluation of how we live, work, and engage with our environment. These changes have led to what is called “new economies,” which have the potential to offer economic growth, sustainability, equality, and technological awareness that is relevant to the fourth industrial revolution (Presidential Commission, 2020). The creative economy is one of those emerging economies alongside the green and social economy. Although the term “creative economy” was only coined in 2001 (Howkins), this industry’s potential has already gained global recognition, including 2021 being the Year of the Creative Economy by the United Nations (UN, 2020) and the Year of Arts, Culture, and Heritage by the African Union (AU, 2021). In particular, the creative economy has a positive impact in contributing to achieving many of the sustainable development goals by 2030 (British Council, 2020). In South Africa, similar trends are evident with various departments including the creative economy, in their development strategies (DTIC, 2011, 2022; DSMD, 2021; Gauteng Province, 2022). However, there is a disconnect between acknowledging its potential and practical implementation to realise that potential.

The City of Johannesburg, the provincial capital of Gauteng Province, is the epicentre of the creative economy of South Africa. Yet, creative and cultural industries (CCIs) are not even mentioned in the City of Johannesburg’s profile report, even though Gauteng Province has earmarked the creative economy as a high-growth sector (Gauteng Province, 2020). As a result of this limitation, the purpose of this study is to gain on-the-ground perspectives of the potential benefit a systems thinking approach could have with regard to seemingly small and isolated interventions. This case study will analyse the role that entrepreneurship training in art and design departments at tertiary institutions within the city could have on the development of the creative economy in the City of Johannesburg.

1.2.      Problem Statement

This paper investigates the role of tertiary art and design institutions in Johannesburg in fostering creative entrepreneurship, a vital element for the growth of the creative economy.

1.3.      Research objectives

The objective of this research is to gather on-the-ground perspectives on the current and potential roles of tertiary institutions in the growth of Johannesburg’s creative and cultural industries, using a systems thinking approach.

2.  Literature Review

2.1 The Creative Economy – Definitions and Context

Globally, the creative and cultural industries are increasingly acknowledged for their significant contribution to both economic and social progress. Their influence extends to advancing the Sustainable Development Goals (SDGs) and fostering Local Economic Development (LED) by cultivating “creative cities” (Hall, 2000). Despite their importance, these industries frequently face misrepresentation and misunderstanding, resulting in a deficiency of strategic planning for their development within urban settings. In 2001, John Howkins introduced the term ‘creative economy’ as ‘the transactions of creative products that have an economic good or service that results from creativity and has economic value’ (Howkins, 2001, 8). This concept gained global recognition when the United Nations declared 2021 as “The International Year of the Creative Economy”(UNESCO, 2021). The United Nations General Assembly Resolution (UNESCO, 2021) outlines the rationale behind designating 2021 as the international year of the creative economy, emphasising its potential contributions to achieving the 2030 Agenda and the Sustainable Development Goals (SDGs). Specifically, these goals encompass eradicating poverty (Goal 1), promoting gender equality (Goal 5), fostering decent work and economic growth (Goal 8), advancing industry, innovation, and infrastructure (Goal 9), reducing inequalities (Goal 10), building sustainable cities (Goal 11), promoting sustainable consumption and production patterns (Goal 12), fostering peaceful and inclusive societies (Goal 16), and enhancing means of implementation and global partnerships (Goal 17) (UNCTAD, 2022).

Simultaneously, the African Union designated 2021 as “The Year of Arts, Culture & Heritage: Levers for Building the Africa We Want,” underscoring the continent’s commitment to valuing the creative economy (AU, 2021, 2). This acknowledgement highlights the pivotal role of cultural workers in contributing to the realisation of Agenda 2063, which envisions an “African Renaissance.”

The creative and cultural industries are made up of six domains, which include Domain A: Cultural and Natural Heritage, Domain B: Performance and Celebration, Domain C: Visual Arts and Crafts, Domain D: Books and Press, Domain E: Audio Visual and Interactive Media, Domain F: Design and Creative Services (Pessoa and Deloumeaux, 2009), the industry does not work in isolation and many creative practitioners work in fields that are not classified as the creative and cultural industries such as an industrial designer working in the car manufacturing field. The creative economy is the umbrella term used to define the creative and cultural industries in their entirety, which would include cultural occupations in the cultural industries, cultural occupations in non-cultural industries, and non-cultural occupations in cultural industries (Higgs and Cunningham, 2008).

Within the South African context, the creative economy contributed just slightly short of 1 million jobs to the labour market and 2,97% towards GDP, which is equivalent to the agriculture industries’ contribution (SACO, 2022). Various governmental departments, traditionally outside the purview of Arts and Culture, are increasingly recognising the potential of the creative economy in shaping their strategies and goals. Notable instances include the Department of Trade, Industry, and Competition (DTIC), the Department of Small Business Development (DSBD), and the Department of Communication and Digital Technologies (DCDT). DTIC has acknowledged this potential by incorporating the creative industries as one of its seven key focal areas for industrial growth (DTIC, 2019). Similarly, DCDT established the Commission on the Fourth Industrial Revolution in 2020, with involvement from experts in the creative economy (Presidential Commission, 2020). DSBD is tasked with formulating the Creative Industries Masterplan (DSMD, 2021), which envisions achieving global competitiveness, innovation, sustainability, vibrancy, and transformation in the creative industry by 2040, fostering prosperity for creatives, entrepreneurs, and society at large (DSBD, 2021:42).

Gauteng Province (GP) stands as a focal point for the creative economy, contributing nearly half (46.3%) of the sector’s GDP contribution and exerting the greatest influence on job creation. The Western Cape follows, contributing (12.4%) and KwaZulu-Natal (14.2%) (SACO, 2022). Particularly, the City of Johannesburg emerges as a multifaceted hub of the creative economy in South Africa, boasting rich racial, ethnic, and cultural diversity. As the largest metropolitan municipality in terms of economy, size, and population, it holds the highest wealth on the African continent, totalling US$248 billion (CoJ, 2020). With a decline in its primary mining and manufacturing sectors in recent years, the city has pivoted towards alternative industries to stimulate job growth and economic development. Johannesburg’s pivotal role in South Africa’s economic landscape underscores its potential significance in fostering the growth of the creative economy (CoJ, 2020). According to Oyekunle (2019), Johannesburg leads as the primary destination city for Foreign Direct Investment (FDI), alongside Pretoria and Cape Town. Additionally, Oyekunle (2019) asserts that the heritage and arts sector serve as crucial pillars for the city’s rejuvenation, highlighting Johannesburg’s status as the most established hub of the creative economy in South Africa, hosting the majority of creative businesses nationwide.

2.2       Systems Thinking and a distributed network within the Creative Economy

Although the City of Johannesburg shows great potential and is leading, it is argued that this is in spite of the leadership and not because of it – and that a systems thinking approach to the growth of the creative economy would yield better results for a sustainable, growing, and thriving industry. Systems thinking, first embraced by Barry Richmond in the realm of systems dynamics (Richmond, 1994), offers a holistic approach to problem-solving, emphasising the exploration of entire systems rather than breaking down issues into separate parts. It involves the ability to recognise and incorporate patterns, interactions, and interdependencies within a set of activities aimed at a specific goal (Dolansky et al., 2020). This approach has the potential to offer valuable insights for strategic development within the creative economy; an area often analysed through a narrow lens that focuses on individual institutions, sectors, or businesses. It is important to note that the creative economy encompasses a wide range of participants, primarily comprising small-scale enterprises, sole proprietors, and freelancers (DTIC, 2022). Applying a systems thinking approach not only fosters a comprehensive grasp of the creative economy but also provides problem-solving strategies that better resonate with the operational intricacies of the creative and cultural industries (CCI). This is particularly pertinent in the context of what is termed a ‘distributed network,’ a hallmark of the working framework in the fourth industrial revolution (Presidential Commission, 2020). This decentralised mode of operation is typified by numerous interconnected nodal points, as illustrated in Figure 1, signifying a departure from traditional organisational hierarchies. The evolution of network relationships in the fourth industrial revolution necessitates novel problem-solving methods and mindsets that acknowledge the multifaceted nature of contemporary challenges, potentially facilitating the development of solutions within the CCIs. The distributed network is the most adaptive and resilient network of the three. It is the backbone of the internet, as well as the functioning of the creative economy (Ingham, 2019), but for its success, hubs, networks, connections, and systems thinking are critical.

2.3       Creative Cities

If the City of Johannesburg serves as an epicentre of the creative and cultural industries of South Africa, then fostering and enhancing that creativity could represent a readily attainable avenue for urban regeneration. In 2004, UNESCO inaugurated the Creative Cities Network (UCCN), articulating its objective as follows: “The Creative Cities Network (UCCN) aims to strengthen cooperation with and among cities that have recognised creativity as a strategic factor of sustainable development as regards economic, social, cultural, and environmental aspects” (Unesco, 2004).

The concept of the creative city represents an approach or methodological orientation characterised by identifiable attributes, yet it remains flexible and open-ended (Segovia and Hervé, 2022). While the notion has roots dating back to the 1970s, particularly championed by urban thinker Jane Jacobs (Hospers and Van Dalm, 2005), its substantial traction began in the 1990s, coinciding with the emergence of the term ‘creative economy’ (Matovic and San Salvador Del Valle, 2020). Scholars credit Florida (2002) and Landry (2000) with popularising this term and linking it to urban planning and local economic development (Matovic and San Salvador Del Valle, 2020).

Jane Jacobs, a journalist renowned for her advocacy of creative interventions in urban development, emphasised key themes such as viewing cities as ecosystems, promoting mixed-use developments, advocating for bottom-up community planning, endorsing higher-density living, and fostering local economies (Project for Public Spaces, 2010). Jacobs adamantly believed that urban planning methodologies lacked creativity and argued against the wholesale demolition of existing structures in the process of regenerating deteriorating areas.

“Just like all cities, creative cities are about people. This means that they cannot be planned from scratch. Creative places in the city are just like living beings: they are born, grow, decay and can rise again. In my view, the streets are the vital organs of the creative city. After all, people meet in the streets, and it is here that human contact, unexpected encounters, and business life take place. This street ballet contributes to creativity and economic dynamics.’ (Hospers & Van Dalm, 2005, 10)

Jacobs held a firm belief in the efficacy of small-scale interventions and the virtue of patience, both of which she deemed to have enduring repercussions within urban settings. Florida, heavily influenced by Jacobs’ ideas, posited that creativity stands as the primary driver of economic expansion, identifying what he termed ‘the creative class’ as its embodiment. This creative cohort encompasses individuals such as artists, designers, writers, media professionals, scientists, innovators, and entrepreneurs united by their reliance on creative thinking, design, and production for their livelihoods. Florida contends that the proliferation of the creative class within a city directly correlates with its enhancement and allure, thereby influencing urban development positively (Hospers and Van Dalm, 2005).

The UNESCO Creative Cities Network (UCCN) covers seven creative fields: Crafts and Folk Art, Design, Film, Gastronomy, Literature, Media Arts and Music. Becoming a creative city within the network has the following benefits (Unesco, 2004):

• Sharing experiences, knowledge, and best practices,
• Pilot projects, partnerships and initiatives associating the public and private sectors and civil society,
• Professional and artistic exchange programmes and networks.
• Studies, research, and evaluations on the experience of the Creative Cities,
• Policies and measures for sustainable urban development,
• Communication and awareness-raising activities.

To gain membership in the Creative Cities Network, aspiring candidates (cities) are required to submit an application demonstrating their readiness, dedication, and capability to contribute toward the network’s objectives. Presently, there are 350 cities worldwide that are part of the UNESCO Creative Cities Network. Within South Africa, three cities have obtained this designation: Cape Town (for design), Overstrand (for gastronomy), and Durban (for literature). Notably, Johannesburg has yet to attain recognition as a creative city, reflecting upon the city’s strategic approach and mindset concerning the cultivation and advancement of its creative and cultural sectors. This absence of acknowledgement ties back to broader implications, including its impact on addressing youth unemployment, fostering urban regeneration, and promoting local economic development.

2.4       Employment and Entrepreneurship in the Creative Economy

The creative and cultural industries are predominantly made up of micro and small enterprises, sole proprietors, and freelancers, with a prevalence of project-based income generation (DTIC, 2022; SACO, 2022). Globally, similar trends are seen, with the majority of creative work being done by freelancers, micro-enterprises and gig workers and a high emphasis placed on intermediaries who become a bridge for creatives to access networks, clients and opportunities (Bristow, 2023). Employment characteristics include a high proportion of freelance work and informal work, as well as an importance placed on networking and events for career development (SACO, 2022). The advantages within the creative and cultural industries employment are that the barriers to entry are low, qualifications are not always essential, and the industry [1] can be strongly aligned with local economic development and tourism. The challenges are that there is a high level of job insecurity, networks are critical, which can exclude those that are not connected, and training and resources are limited (SACO, 2017).

The nature of work within the CCIs often falls within the informal and gig economies. It faces similar policy and labour market constraints, such as a lack of security and protection within policies and the potential for exploitation relating to self-employment (Fourie, 2023). In 2016, an estimated 50,5% of creative and cultural workers were engaged in informal practices in South Africa (Hadisi and Snowball, 2016). With the growth of the gig economy and the impact of COVID-19, this percentage has most likely increased over the last eight years. In order for the CCIs to reach their full potential, systems thinking is needed and a shared vision across the distributed network of the industry. Key measures that should be considered are (OECD, 2023)

• Strengthening the data and evidence base to inform decision-making.
• Closing skills gaps, especially in entrepreneurial skills.
• Facilitating and supporting the digital transition within the sector.
• Maximising synergies between cultural and creative sectors and promoting collaboration with other industries.
• Addressing social protection gaps.

Entrepreneurship falls within two broad categories: firstly, opportunity driven and secondly, necessity driven. Opportunity-driven is associated with positive motives such as achievement, independence, learning and financial success. Necessity-driven is associated with negative motives such as securing a new source of income, to try cover costs, etc. (Baláž, Jeck and Balog, 2022). The creative entrepreneur is South Africa often falls within the latter. A lack of funding opportunities and a need to generate income forces them into this approach to work. This has led to negative underlying attributes towards entrepreneurial development and growth, with many creative workers believing entrepreneurship is simply about greed, capitalism and profit-making at the expense of everything else. The term “creative entrepreneur” has emerged to denote the entrepreneurial endeavours within the CCIs. Creative ventures exhibit heightened engagement in fostering innovation compared to their counterparts yet can grapple with a balance between creative ideation and the pragmatic aspects of business development (Bujor and Avasilcai, 2016). A significant portion of creative entrepreneurs maintain strong ties to their cultural and economic environment, prioritising objectives beyond mere profit maximisation, including elements such as personal fulfilment, community impact and workplace relationships, often seeking a work-life balance, a need for social reputation and a desire to just cover basic financial needs (Baláž, Jeck and Balog, 2022). In educating creative entrepreneurship, all these factors must be prioritised, with creatives having the opportunity to challenge the notion of entrepreneurship and learn within the nuances and realities found within the creative economy. That is to say, if entrepreneurship training is focused on profit-taking, franchising and growth strategies alone, then the training will be fruitless, and many will disconnect.

3.  Research Methodology

This case study was initiated by the introduction of an entrepreneurship course at a university in Johannesburg for third year Visual Arts students. The objective is not to analyse in detail this specific course, but rather to gain insights and perspectives on the role art and design tertiary institutions could play in the development of creative entrepreneurship which would feed into  the growth of the creative economy of the City of Johannesburg. The intention is to show the possible connections and strategic value of creative entrepreneurship training within art and design tertiary institutions. The qualitative interviews allowed for further depth and understanding of how interviewees see the interconnectedness and larger impact arts and design schools may have on the growth of the creative economy. A semi-structured interview design was used and allowed for preparedness and direction within the interview while also considering that the interviewees are experts and leaders within their field, and they may have insights to offer that the researcher has not taken into consideration. All interviewees were asked to sign a consent form and permission to record before the interview. The sample included a variety of specialists from the creative economy, including a researcher, a gallerist, a lecturer, creative organisations that offer adult creative entrepreneurship training, and a mentor/facilitator of creative entrepreneurs. All interviewees work within the City of Johannesburg and can, therefore, speak to their experience within this context. A total of six interviews were conducted before data saturation was achieved.

Ten questions were asked:

1. Please introduce yourself and the work you do. Please also clarify which industry you mainly work in.
2. Over the last two years, a course has been introduced at your university’s Visual Arts Department for third-year students. The course is focused on creative entrepreneurship and how to generate and sustain oneself within the creative economy. Do you think short courses on entrepreneurship are needed/necessary at tertiary-level art & design schools?
3. Do you think these courses need to be academically certified or run as short practical courses?
4. Do you think art and design departments at universities could play a more active role in educating and developing creative entrepreneurship?
5. Do you think short courses should be limited to students enrolled in an arts degree, or could universities offer creatives short courses on entrepreneurship?
6. How, if at all, do you think developing entrepreneurship thinking in our youth could assist with the growth of the creative economy in Johannesburg and South Africa?
7. What role do you believe art and design departments at universities in Johannesburg play/should play in growing and developing the creative economy of Johannesburg?
8. Do you think Art and Design departments at universities are fully connected to what is happening in the ecosystem of the Creative and Cultural Industries, i.e., are they aware of what is happening on ground level and what is needed to grow the sector?
9. What impact do you think introducing creative entrepreneurship courses will have on capacity training organisations of Johannesburg offering creative entrepreneurship training, and do you think this will benefit those organisations in any way?
10. What do you believe are key partnerships that need to be developed in order to grow the creative economy of Johannesburg?

3.1.      Ethics

This study was granted ethical clearance by the Research Ethics Committee. All ethical considerations were adhered to during the data collection process.

4.  Results and Discussion

The incorporation of creative entrepreneurship courses into art and design curricula at universities has been identified as a crucial advancement, yet its implementation has been largely lacking. Several interviewees reflected on their educational experiences in art and design schools many years ago, noting that while the industry has undergone significant transformation, the educational focus remains predominantly on professional practice and theory. To address this gap, there is a consensus that practical, compulsory short courses on entrepreneurship should be introduced for art students while also being accessible to emerging creatives initiating their own ventures. Certain interview participants expressed the viewpoint that implementing an entrepreneurship curriculum could serve as a catalyst for fostering a more expansive academic exploration among students. This could broaden research into analysing the creative and cultural industries through the lenses of economics, business, and their societal implications.

Entrepreneurship is important. It is not just the process of entrepreneurship – it is the thinking. (Interviewee 2)

Despite the existence of capacity-building organisations offering creative entrepreneurship programmes, they struggle to meet demand, and there is a lack of standardised measures for evaluating these courses. Most interviewees observed a notable disconnect between the art and design departments and Johannesburg’s creative economy. This is attributed to a siloed mindset within academic institutions, which primarily focuses on internal affairs alongside the challenges academics face in implementing innovative courses and industry engagement initiatives. Furthermore, there is a dearth of support for academics who undertake such endeavours, with their efforts often going unrecognised within university structures. There appears to be a deficiency in recognising the significance of fostering the creative and cultural sectors within the City of Johannesburg, as well as the potential contributions tertiary institutions could make. This gap is evident across community-driven initiatives, policy engagement, research and development efforts, and innovative curriculum development, particularly concerning entrepreneurship education.

Interview respondents perceive that universities have a pivotal role to play in fostering the growth and advancement of the creative economy in the City of Johannesburg. This role encompasses several key facets:

1.  Facilitating Connectivity: Universities serve as a bridge connecting industry, young talent, and academic institutions. There exists a mutual exchange wherein knowledge emerging from academia informs practical applications while real-world experiences feed back into academic discourse. Proactive efforts are essential to foster collaborations between the academic sphere and industries, ensuring that educational offerings remain relevant in the face of rapid societal changes.
2.  Innovation Incubator: Universities function as fertile ground for nurturing innovation, acting as catalysts for addressing pressing societal challenges through inventive solutions. This involves providing a supportive environment where novel ideas can flourish and where experimentation is encouraged.
3. Student Exposure: Universities offer invaluable exposure opportunities for students, ranging from immersion in entrepreneurial endeavours to participation in internships and engagement with various industries. Such experiences not only broaden students’ perspectives but also equip them with practical skills essential for their future careers.
4. Research Endeavours: Universities are urged to adopt a more proactive stance in conducting research, particularly focusing on micro-organisations and system design. It is imperative to bridge the gap between theoretical frameworks and practical applications, thereby ensuring that academic insights are translated into tangible real-world outcomes.
5. Resource Accessibility: The resources housed within academic institutions, such as state-of-the-art studios, analogue studio spaces, equipment, auditoriums, and digital infrastructure, play a critical role in supporting the endeavours of creatives and micro-enterprises. By enabling access to these resources and providing capacity-building training, universities empower individuals and organisations within the creative sector to thrive and innovate.

A key concern voiced by interviewees is the outdated nature of the information students receive and the insufficient exposure to professional networks within the evolving creative landscape. While there is unanimous agreement on the value of entrepreneurship courses, there is apprehension regarding the methodologies and instructors employed in their delivery. It is emphasised that these courses should not be pursued solely for academic enrichment but to equip students with essential entrepreneurial skills, given the predominant freelance and project-based nature of the creative industries.

In all my doings in Joburg, I’ve never seen these people present at any of the sector meetings, at any of the engagements or discussions or you know…probably not, they are probably not aware of the bigger picture. (Interviewee 6)

An additional concern revolves around perception. Within art and design educational institutions, a prevailing sentiment among certain individuals suggests that students’ primary focus should be on honing artistic skills and conceptual development rather than acquiring business knowledge. There exists a perception that lecturers may lack enthusiasm for developing courses on business-related topics, as these subjects fall outside their academic and practical interests. It is imperative to establish clarity and precise definitions for concepts such as entrepreneurship and innovation, given their potential for divergent interpretations. The conventional perception of entrepreneurship as solely profit-driven and commodity-oriented may not positively influence the expansion of the creative economy. Conversely, the promotion of social, community-oriented, and impact-driven entrepreneurship development and innovation is crucial. This distinction holds significant weight in discussions regarding the advancement of creative entrepreneurship and its training, particularly when engaging policymakers and stakeholders from various industries and government who may lack comprehension of the dynamics inherent to the creative and cultural industries. Furthermore, this perspective aligns with a fundamental appreciation of the distributed network (Ingham, 2019), the horizontally structured and the micro-level characteristics of the Creative and Cultural Industries (CCIs) (Bujor and Avasilcai, 2016).

There’s an argument –  ‘ahh but the arts and entrepreneurship – you can’t mix art and business, you devalue artistic expression’. I think it’s utter rubbish because someone else will monetise the art, so if you aren’t going to get involved with the business part of it, someone else will. (Interviewee 6)

The effectiveness of entrepreneurship training hinges on its practical orientation and the involvement of instructors with firsthand entrepreneurial experience within the creative economy. Moreover, there is a strong sentiment that these courses should not be confined within the university’s conventional structures, which may stifle creativity and innovation. Instead, they should be conducted in locations within the city’s creative and cultural hubs, enabling students to interact with young entrepreneurs and grasp the tangible and social dynamics of the creative economy.

The training should encompass experiential activities such as attending art fairs and design expos, visiting creative hubs, and engaging with open studios, fostering a deeper understanding of networking and the intricacies of the local creative ecosystem. Many interviewees believe that if entrepreneurship courses within art and design schools are designed and delivered appropriately, they could serve as catalysts for breaking down silos and fostering industry connections, as well as growing entrepreneurship within the industry and supporting the youth of the city. However, adherence to traditional university formats would undermine their efficacy and relevance to both students and the industry at large. 

Because the physical structure of the institution results in an enclosed mindset, it really is as simple as that. The physical becomes psychological, and it becomes very difficult to break. (Interviewee 5)

5.  Managerial Implications

To foster the growth of Johannesburg’s creative and cultural industries, it is important that all stakeholders develop a shared vision and understand their roles within the larger ecosystem. Currently, art and design tertiary institutions in Johannesburg emphasise internal departmental successes and achievements but lack strategic initiatives for supporting students post-graduation, as well as other creative practitioners who do not attend university. By engaging with industry dynamics, these institutions could collaborate with capacity-building creative organisations to empower creative entrepreneurs through education, entrepreneurship training, access to space, tools, and robust network development. By doing so, universities can bridge the gap between academia and industry, ensuring that their graduates are not only well-equipped with theoretical knowledge but also possess practical skill, entrepreneurial basics, and industry connections that are essential for their professional success.

Moreover, universities could significantly contribute to the industry’s overall growth by partnering with internal departments such as business and economics. This collaboration could lead to increased research on the creative and cultural sectors, providing valuable insights and data that can inform policy and business strategies. Enhanced entrepreneurship education tailored for both students and existing creative entrepreneurs would further bolster the industry, fostering innovation and sustainable growth.

Ultimately, the role of these institutions could be expanded beyond the conventional scope of education. By becoming key hubs for industry collaboration, innovation, and research, they could support a larger segment of creative practitioners, thus playing a vital role in the development of Johannesburg’s creative economy. Through such strategic engagement and partnerships, tertiary art and design institutions could significantly elevate their contribution to the creative and cultural industries, driving economic growth and cultural vibrancy in the City of Johannesburg.

6.  Conclusions, Limitations and Future Research

This paper aims to gather on-the-ground perspectives through qualitative, semi-structured interviews with industry experts on the current and potential role of tertiary institutions in the growth of Johannesburg’s creative and cultural industries, employing a systems thinking approach. This study involved a restricted number of interviewees and did not extensively explore the specific details of Johannesburg’s universities. Instead, it serves as an initial exploration of the role of tertiary institutions in fostering the growth of the creative economy within the City of Johannesburg. Further research could provide valuable insights through examination of entrepreneurial training programs, in-depth analysis involving educators, students, and creative entrepreneurs, and exploration of outreach initiatives.

Gauteng Province (GP) is a central hub for the creative economy, contributing nearly half (46.3%) of the sector’s GDP and playing a significant role in job creation (SACO, 2022). As the creative epicentre of Gauteng, the City of Johannesburg stands to benefit substantially from the growth of the cultural and creative industries (CCI), potentially enhancing youth employment, local economic development, and urban regeneration. However, achieving this growth requires strategies that operate within the distributed network of the industry, utilising various micro interventions that contribute to a shared vision. A systems thinking approach could assist in finding these strategies by recognising the complexity of the industry and its diversity, different roles, and varying scales of impact within the sector.

What is the role of tertiary institutions within the city? Silo and linear thinking are common practices within tertiary institutions, with many exciting developments occurring but remaining within that specific department, sector, or institution (Colapinto and Porlezza, 2012). In the current global economic climate, many graduates from all industries are leaving universities with limited job prospects, a situation that is even more pronounced for those in the creative and cultural fields (Kolb, 2020). Given South Africa’s high youth unemployment rate, currently at just under 45,5% (StatsSA, 2024), neglecting to provide students with fundamental entrepreneurial skills is shortsighted. The reality is that the creative industry predominantly consists of micro-enterprises, making traditional employment pathways unlikely for graduates.

To remain relevant and innovative, art and design departments should embrace the quadruple helix model (Colapinto and Porlezza, 2012), emphasising collaboration between government, civil society, industry, and academia. The Triple Helix Model (THM), introduced in 1995 (Etzkowitz & Leydesdorff), was devised to explore the emerging relationships essential for universities to nurture innovation and creativity. This theoretical construct was formulated to investigate the intricate interconnections required for universities to assume a catalytic role in fostering creativity and innovation. Serving as a foundational framework, the THM facilitates comprehension of the dynamic interactions among universities, government, and industry, which collectively shape the intellectual landscape. However, Colapinto and Porlezza (2012) posit that the THM overlooks a crucial element: civil society. They argue that for universities to exert a more substantial influence, active engagement with their societal context and civil society is imperative. Consequently, the Quadruple Helix Model is proposed, as depicted in Figure 2.

Introducing entrepreneurship courses goes beyond mere skill acquisition; it presents an opportunity for enhanced collaboration within the distributed network of the creative economy. As traditional university structures are ill-equipped to engage with such distributed networks, thematic connections facilitated by entrepreneurship education can bridge this gap. This initiative calls for a shift from linear to systems thinking, aligning with the decentralised nature of the creative industry. Art and Design Schools need to adapt to the changing landscape of the fourth industrial revolution and the creative and cultural industries, recognising their potential role in addressing societal challenges such as economic decline, youth unemployment and urban regeneration.

A key element in the introduction of creative entrepreneurship which was pointed out by the interviewees is that the approach linear, but instead, there must be collaboration with capacity training organisations, non-university-affiliated creative youth, policymakers, and industry representatives. Practical instruction by individuals with entrepreneurial experience is essential, fostering a deeper understanding of the creative economy and preparing students for industry entry. 

Recommendations include integrating entrepreneurship training throughout all art and design departments in tertiary institutions. This training should be practical and facilitated by industry-experienced entrepreneurs. Both students and young creative entrepreneurs should participate in training sessions to foster networking and mentorship opportunities. Training sessions should be conducted outside traditional university settings to encourage interdisciplinary collaboration and enhance industry relevance. Emphasis should be placed on developing a practical understanding of the creative economy, including its network dynamics and the significance of hubs, clusters, and interconnections.

By embracing these recommendations, art and design institutions can equip both students, and young creative entrepreneurs with the necessary skills and insights to thrive in the dynamic landscape of the creative economy, as well as play a direct role in the growth of the creative economy of the City of Johannesburg.

Everything about a city is design, how you design the water system or the transport system…; every little detail actually revolves around design. So, if you think about design as not just in an arts context, if you think of design in a city context – I think a university has got the capacity to host spaces for a lot of the creatives of the city to actually come together and start to have conversations and do innovative projects.

 Knowing creatives, all you have to do is offer the space and the rest is an exponential explosion that happens out of your control, outside of you. (Interviewee 6)

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