Of all our graduates, few are impressed with arts graduates: they spend taxpayers’ money on courses that add no value to the economy. Most parents panic when their children express hopes for a career in the arts. But that needs to change with careful reforms to the education system and thoughtful campaigns to destigmatize the arts as a livelihood.

The intersection of creative arts with technology-driven economies is gaining recognition for its substantial role in economic transformation. According to the OECD and UNDP, the creative economy can drive structural changes, socio-economic advancements, job creation, and innovation. It also plays a significant role in fostering social inclusion and sustainable human development. This creative economy encompasses a range of industries, including arts and crafts, advertising, design, entertainment, architecture, publishing, media, and software development. The growth of a vibrant economy hinges on a country’s ability to be creative, seize opportunities and address challenges in various domains, such as technology, education, labour markets, macroeconomic policies, gender equity, urban development, migration, and others.

Significantly, creative industries have made a notable economic impact. In 2020, they contributed nearly $3 trillion to the global GDP. This surge is partly due to the adoption of new digital technologies, which have opened up novel avenues for revenue generation.

Kaitlyn Gallander, Resident Representative, USAID Sri Lanka, Malaka Talwatte, Chairman, George Keyt Foundation, and Simon Bell, an Impact Investor, joined Echelon’s Turning Point series to discuss the potential of Sri Lanka’s cultural capital and the need to foster the creative arts to transform the economy.

Art for Change, Art for Good

Kaitlyn Gallander, Resident Representative, USAID Sri Lanka

We’re exploring the intersection of art and social change, recognizing how art can profoundly inspire and evoke emotions, as was evident in Sri Lanka in 2022, where artists courageously voiced their concerns and passions, resonating deeply with the public.

USAID is eager to tap into this creative energy, recognizing its power globally – from South Sudan to Lebanon to Ethiopia. We see culture as a vital currency for social good, intertwining economic growth with social cohesion. We aim to support and expand the convergence of culture and economic prosperity.

There’s a challenge in many societies where creative expression is discouraged, either by social or political norms, and we are focusing on creating more opportunities for those inspired by art, providing accessible pathways for creative expression, especially for young people with a message but unsure how to express it.

We’re also committed to destigmatizing unconventional career choices in the arts, demonstrating their viability and cross-sectoral relevance. For instance, in Sri Lanka, where many talented youths are migrating, we aim to harness their creativity through innovative methods.

Highlighting USAID’s initiatives, one poignant example is the series of concerts in Mosul, Iraq, after ISIS occupation, symbolizing hope and rebirth. Similarly, in Karachi, Pakistan, our multimedia campaign – I Am Karachi – promoted tolerance and unity amid ethnic tensions, using festivals, social media, and interactive campaigns.

In our collaboration with Freedom Hub, we recognized the inclusive potential of festivals to use art and music for action. Our focus is on fostering innovation and inspiration among emerging artists, especially women, encouraging them to use art as a tool for self-expression and activism.

Broadly, our programme aims to deepen civic engagement through experimental and avant-garde approaches, drawing inspiration from recent artistic movements. Co-creating with our partners, we’re supporting initiatives like the Matara Festival of the Arts, providing platforms for female voices and workshops for emerging musicians. Our objective is to showcase art that inspires and models possibilities. The festival intends to be interactive, encouraging attendees to engage actively, whether through performance or feedback. Our excitement for the Matara festival reflects our commitment to harnessing the transformative power of arts and culture.

Destigmatize the Arts to Join the Lucrative Global Creative Industry 

Malaka Talwatte, Chairman, George Keyt Foundation:

In examining today’s contemporary art scene, it becomes apparent that the predominant influence stems from the events that have unfolded in Sri Lanka over the past three decades. While some of these events have been far from ideal, they have ignited the creative spirit within artists, inspiring them to transform these experiences into various forms of art.

Remarkably, this artistic response has found widespread acceptance across the global stage. What makes this phenomenon particularly intriguing is its ability to explore and reflect the diversity of cultures, religions, and the myriad challenges faced by society, in contrast to the modern art movement of the 1920s when a group of young Sri Lankan artists primarily focused on celebrating existing cultural elements, such as the Sigiriya frescoes, religion, and heritage, by incorporating them into the realm of modern art. It’s a compelling juxtaposition to observe. While the sources of inspiration may differ, the artistic quality remains consistently impressive.

Moving beyond visual and performance arts, I firmly believe that creativity holds the potential to enrich all industries. This notion extends even in the business world, where advancements in AI are reshaping traditional models across various sectors. However, amidst these changes, creativity remains a key differentiator. Across industries, there will always be a demand for creative thinkers, and Sri Lanka should seize this opportunity rather than miss the proverbial bus. A recent study has underscored the significance of the creative industry, which boasts a staggering global worth of $3.3 trillion. If Sri Lanka can carve out a piece of this industry for itself, it could become a significant GDP contributor.

Conventional thinking has long prioritized careers in medicine, law, and other traditional fields. However, there is growing recognition, both in the corporate world and among young students, of creativity’s vital role in shaping the future. A surge in interest in creative courses is a testament to its value. In Sri Lanka, a perceptible shift toward embracing creativity is underway.

There is a stigma associated with the creative industry in our education system. It’s not uncommon for concerned parents to question the feasibility of their children pursuing artistic careers. We must reform our education system and change societal perceptions to foster thriving creative industries that are sustainable and respectable sources of livelihood.

Having platforms for creative expression is essential. Festivals, galleries, museums, and other venues provide such platforms. They serve as bridges between artists and the wider audience, enabling the creative industry to flourish. Additionally, ensuring that the message reaches rural areas, educators, and parents will be crucial. Multilingual communication can help disseminate this message effectively.

Examining the market for Sri Lankan art, one finds that the primary audience is the Sri Lankan diaspora living abroad. Their connection to these artworks often stems from deeply personal experiences and memories. This nostalgia-driven approach has traditionally been the cornerstone of Sri Lankan art’s international appeal. However, times are changing. Sri Lankan artists are gaining recognition in international museums, galleries, and art literature, signalling a shift in focus.

The Matara Festival is a notable event that brings art to a broader audience beyond the immediate community. It attracts tens of thousands of people, including locals and tourists. This festival instils confidence in people, particularly those on the fringes of the art world. It erases social stigmas and introduces them to new experiences, opening doors to greater acceptance and understanding.

In the future, the Foundation aims to assist rural artists in marketing themselves more effectively, primarily through social media. Artists can now reach a global audience but need training in this aspect.

Collaboration across the creative ecosystem, including artists, galleries, museums, media, institutions, and teachers, is crucial for fostering creativity in our country. Festivals, especially those in rural areas, play pivotal roles in providing a platform for emerging talents and bolstering their confidence. By offering training and support, we can unlock the full potential of Sri Lanka’s creative artists.

The South Korean Example: Foster Creative Arts for Economic Transformation 

Simon Bell,  Impact Investor: 

I’ve always viewed creative industries as pivotal to any nation’s economic development. They are, after all, at the heart of the economic dynamism in leading economies. Take London, for example, where the Tate Modern has become the top tourist destination, surpassing traditional landmarks.

In Sri Lanka, my business partners and I, all former economic consultants, shifted from advising others to initiating our projects. Our first venture is an estate near Bandarawela and Ella, focused on maximizing local income and employment. We run a hotel that hosts arts and cultural events and exports local products like tea, coffee, and spices. Another passion project is the Matara Fort, a hidden gem we aim to revitalize, inspiring others with what’s possible in this region.

Social media has revolutionized how smaller players – like guest houses in Ella – compete with larger chains. Online platforms like Kala Pola, which went digital during COVID, have widened exposure to arts, reaching audiences beyond traditional venues.

The socio-economic context in Sri Lanka drives much of its contemporary art, resonating globally. Our art, often reflective of political and social themes, appeals beyond the local audience, as seen in accolades like the Booker Prize.

Regarding Matara – and indeed other Sri Lankan towns – I believe in the potential of hosting artistic and cultural festivals to enhance their economic and cultural profiles. The idea for a festival in Matara, proposed in 2018, was to showcase its potential as a tourism and economic hotspot. The inclusive and improvisational nature of these festivals is crucial. They aim to remove stigmas around arts as a career, promote community engagement, and celebrate our diversity as a nation.

It is interesting to note South Korea’s rise from purely a manufacturing powerhouse to a creative powerhouse in the global economy. The realization dawned that they had evolved into the world’s leading manufacturing hub, excelling in producing products for others. However, they understood the necessity of ascending the creative cycle curve. This shift was crucial for companies like Samsung and LG to innovate and create groundbreaking products. They recognized the importance of fostering creativity within their business framework. It was no longer sufficient to manufacture components for others’ devices. They were poised to design and develop their phones and similar products, marking a strategic and deliberate shift in their approach.

We need a coalition comprising creative citizens, investors, and others who share our vision and sustain our cultural and creative momentum. This idea might seem unconventional, but it’s vital, especially in the Sri Lankan context, where there’s a tendency to rely on government support. However, expecting substantial government intervention is not feasible or desirable. We have more critical areas where government resources are needed.

Our strength lies in our creativity and resourcefulness. We don’t need external assistance to build a theatre: we have the means to repurpose existing structures like ramparts, old churches, and temples. It is about harnessing our collective responsibility and creativity to find innovative solutions. We must take the initiative to utilize our resources and spaces, transforming them to support and advance our cultural endeavours, rather than waiting for external support to develop the necessary infrastructure.