When I stepped into the Financing and Impact Investment in the Cultural and Creative Economy of Zimbabwe Conference hosted by Arterial Network Zimbabwe and UNESCO, I expected another standard industry gathering. What unfolded was a radical reimagining of how African creative professionals could transform their economic landscape. Over two intense days, a diverse coalition of artists, policymakers, and cultural entrepreneurs dissected the complex challenges facing Zimbabwe’s creative sectors. Beyond surface-level discussions about funding, the conference dove deep into critical issues: value creation, ecosystem approaches to resource mobilization, intellectual property management, and the urgent need to localize cultural policies amongst other issues.

The most provocative insights emerged not from traditional economic models, but from a fundamental challenge to how creative professionals perceive their own economic potential. One of the presenters, Ouafa Belgacem, argued that artists must look beyond simply expanding geographically or increasing budgets. Instead, they should focus on leveraging their core competencies. Take comedians, for instance, their real asset is not just performing, but their mastery of public speaking. This skill could be transformed into training workshops, coaching sessions, and alternative revenue streams.

It is no secret that the current system is broken. Most cultural organizations rely almost exclusively on grants, a resource-intensive process with remarkably low returns. The solution requires a multi-pronged approach: building individual capacity, changing institutional mindsets, and creating supportive legal frameworks. One striking revelation was the disconnect between how success is currently measured and what truly matters. Financial growth is not just about securing massive grants, but about generating flexible, unrestricted income that allows for innovation and sustainability.

Sustainability in the arts raises an intriguing question: can art alone generate sufficient profit to sustain itself? While the intrinsic value of art is undeniable, the current landscape indicates that financial viability often evades many artists and organizations. The conference underscored that not all art should be scrutinized through the lens of profitability. Some art serves critical roles in education, cultural preservation, and societal reflection, making it essential for governments and private entities to invest in these pursuits. This investment acknowledges that the value of art extends beyond mere economic returns; it enriches communities, encourages dialogue, and preserves heritage. Thus, a balanced approach is needed where innovative business models coexist with a recognition of the broader cultural significance of the arts, ultimately leading to a more sustainable creative ecosystem.

The conference highlighted critical ecosystem barriers: restrictive legal structures, limited understanding of creative industries by government institutions, and a narrow view of what constitutes economic value in the arts. For Zimbabwe’s creative economy to truly flourish, a holistic transformation is needed. This means reimagining business models, developing diverse income streams, and recognizing that an artist’s expertise is their most valuable asset.

As the conference demonstrated, the future of Africa’s creative economy is not about asking for more funding, it is about creating more value, more strategically. The revolution starts now, one creative professional at a time.