Culture Matters

Artists and the Theatre of Cyberspace

Well then, if a man could watch the La Basse right dey

And build houses so near for people to stay

To take in that stinking stench the whole day

Somebody have to be mad, mad, mad

Somebody up in Whitehall mad

- Somebody Mad, calypsonian Chalkdust

SO THE story goes something like this. Back in the 1970s, calypsonians like Chalkdust, Sparrow, Duke and others were using their craft to dispense lyrical licks on politicians, in particular prime minister Dr Eric Williams.

At the time, the women of the PNM were fiercely protective of Dr Williams; they complained bitterly about the audacity of calypsonians who challenged their leader. Apparently, it was the calypso Somebody Mad that caused Dr Williams to calm the ladies with a dismissive, 'Let the jacka-- bray.'

Jacka-es, it would seem, are again rearing their heads. From Whoa Donkey by the United Sisters - Singing Sandra, Marvellous Marva, Tigress and Lady B - to the chutney song Donkey (yes, it exists, He Haw He Haw He Horning You) - our fascination with this creature seems endless. Now, Devon Seale's social commentary, Doh Jacka-- de Scene, summons the donkey again, as he tries to encourage people in TT to behave more responsibly concerning covid19.

Although we laugh at social media videos with countless variations of dancing donkeys and politicians, for members of the creative sector, asinine behaviour needs to stop. As artists explore survival in an increasing digital reality, it is worth understanding how we may protect creative works online.

This is not a new question. For 15 years, the Eintou Springer play Kambule was performed before thousands. Unfortunately, protection of the rights of the playwright, performers and other professionals was a topic that was never favourably resolved.

Our fears often played out as we discovered that Kambule was on television screens in Europe - in different languages with subtitles. Global media received full access to our creative product, not to mention the hundreds of smart phones uploading images, videos or the entire show online.

In addressing these gaps, organisations like the Film Company of TT continue to be vocal about the need for artists to be more specific about the terms of any engagement, from what is included in the fees to where the performance will be broadcast.

Admittedly, it is a balancing act for creatives. Salif Gueye, a Senegalese street dancer living in humble circumstances in Paris, is now working as a model and designing his own line of sneakers from sharing his Michael Jackson moves online. Visibility is thus a crucial aspect of promotion of our work, so the question becomes: what do you share for free and when should you protect your work?

This year, Jaquel Knight, choreographer for stars like Beyonce and Shakira, copyrighted his dance moves