Dara Healy
'…with the relevant data we can empirically identify existing cultural economy gaps. We can design and develop the appropriate response programmes to facilitate and enable cultural and creative people. Data has to relate to real people who are doing real creative, cultural and artistic work.' - Dr Deborah Hickling Gordon, lecturer, UWI, Mona
The beat of the tassa drum pounded in my chest. Next to me, drummers beat out hypnotic rhythms on large drums hanging from their necks with thick straps. A short distance away, the hands of other drummers moved with whirlwind speed, holding long, delicate sticks on small drums to create a higher-pitched sound. To my right, a woman, eyes closed, lost in the playing of the cymbals.
I stood there in the midst of all of this, feeling the smile on my face, moving to the music, observing this ancient Muslim ritual. How do you measure the impact of culture on the soul of a nation?
Attempts to map and quantify our creative sector are not new. However, for any such exercise to be effective, it is important to understand the realities of how artists work, their challenges and what is required to truly empower them and the industry as a whole. It is equally important that the information gathered is used to improve the quality of lives of working artists.
At a recent forum on the significance of data-gathering to empower the creative sector, Dr Gordon highlighted one study conducted in Jamaica.
The results showed that some 50 per cent of cultural and creative workers were among the working poor. Yet, as she pointed out, little has been done to transfer that information to policies, programmes or other support to shift this reality for artists and cultural workers in Jamaica.
Similar challenges of data collection can be seen here in TT. While mapping and measuring the creative sector are necessary to support long-term development of the industry, this is often hampered by what is called "public-sector fragmentation." This refers to the way data is collected, stored and used across various government and business institutions. A more cohesive approach is urgently needed, in which information is shared and the results applied in an artist-centred manner.
Artists want their work to be seen, purchased and appreciated. To do this, they must be able to start a business, access loans or other critical outlets for their survival. However, as Dr Gordon notes, there needs to be more creative literacy and creativity within the financial sector. Additionally, traditional definitions of business, investment, and trade need to be updated to better support the industry.
I have written previously about the importance of developing specific financial and other solutions for artists. It is therefore encouraging to hear another voice advocating for institutions to behave more intuitively when it comes to financial inclusion for artists.
The festival of Hosay is more than entertaining - it is unifying. Apart from the benefit to the business owners in St James,
