PROFESSOR Eddie Ashworth and Dr. Paloma Mohamed believe that the successes of those iconic Guyanese personalities has important lessons that we all can learn from and once all of the right pieces come together the bar can be elevated where a brighter future awaits stakeholders within the performing arts fraternity.
This view was expressed during the “Sound Engineering Workshop” hosted by The University of Guyana Centre for Communication Studies last month at Guyana International Conference Centre.
Project co-coordinator, Dr. Paloma Mohamed and project executing officer/facilitator Professor Eddie Ashworth were questioned about the project completion criteria. The latter expressed satisfaction at the level of interest shown by all sections of the media and the high level of participation by members of this fraternity.
He pointed out that while recognising some weaknesses within the sector he strongly believes that there is evidence of superior sound recordings that make some members within the fraternity more ready for the international market. Some of the weaknesses spotted were the lack of standardisation in the use of modern soft-ware and hardware technology, unavailability of relevant/modern technology and the under utilisation of these technology due to untrained human resources. In spite of this, he was quick to point out, there are those who have made well of the limited resources that are available and are making a name for themselves in some parts of the Caribbean region.
In his view, the primary goals to enhance the experience of media operatives, University Faculty members and members of the performing arts arena of the impact quality sound can have as an end product on the consuming populist and the growth of the industry were realised. It is recognised that the improvement in sound relating to audio recording and visual / audio arts is only one piece of the puzzle that is vital for the full development of the industry.
He believes that state intervention in terms of legislating and enforcing copyright laws and other tax incentives and public/private partnership will encourage innovation and growth within this business sector. Reflecting on his experience in the Caribbean, he spoke about the impact legislation have had on the diversification process of the sector and economies.
Dr. Paloma Mohamed also expressed similar views as she believes that the double standard in legislation as it relates to the protection and preservation of intellectual property and these art forms must be broken, in the interest of sustainable development. She contended that if it is unlawful to steal from a manufacturer or a grocery store owner it should also be unlawful to steal the intellectual properties of musicians, composers and performing artists. If the manufacturer and grocery store owner are able to take action against known thieves the same standard should be applicable to members of the performing arts fraternity whose intellectual property rights have no protection and they are shown complete disrespect by known perpetrators.
Dr. Mohamed, when asked if she is prepared to advocate on behalf of this sector, clearly states that she does not see her self as an advocate for SMEs but more as a facilitator that can help them to find their voices. She agrees that coordinated advocacy and collective interest can enhance and sustain the growth of performing arts in Guyana.
Stimulating discussions stemming from the “Sound Engineering Workshop” among musicians, music engineers, artists and performers alluded to the fact that they all would like to realize the dream of becoming fully recognized, rewarded and respected for their hard work and witness the framework being established that will set the tone for them to be rated among the worlds greatest in show business.
Pioneers like Eddy Grant, Norman Beaton, Ram John Holder and Ken “Snakehip” Johnson were all pointed out as iconic performers who have made a name for themselves on the global platform of entertainment. Eddy Grant, with a wealth of music recording success with number #1 hits like “Baby Come Back” 1968, “I Don’t Wanna Dance” 1982 which stood out for three weeks as No# 1 on the UK Single Chart, “Killer On The Rampage” became a Top Ten Album and “Electric Avenue” 1983 was a number 2 hit in both the US & UK which sold over a million copies. Other names like Norman Beaton, first black teacher to be employed by the Liverpool Education Authority who later became actor/play writer and made a name for himself as a actor / play writer with the sitcom “Desmonds”, Ramjohn Holder, actor/musician performed at Royal National Theatre, recorded several songs like: Black Land Blues 1969, Bootley Blues 1971, You Simple Are 1975 and Ram Blues & Soul. He also contributed soundtracks for film and television. Ken “Snakehip” Johnson, a specialist jazz and swing music performer and Sol Raye, a cabaret singer/composer and recording artist have all made it in the sun of fame.
A close examination of the successes of these iconic figures will reveal the interlocking factors that influenced their chance to fame. Those interlocking factors are: they were exceptionally talented, they were exposed to environments that fostered the development of these art forms and relevant stakeholders within this fraternity were market led and harness the vision for global expansion. These essential factors set the tone for the growth of a multi-billion dollar industry that continues to influence cultural diversification, social growth and economic development.