“From an economic point of view, the nation is emerging as an information-and-entertainment super power. Our market is the only one large enough to justify building the next Microsoft Windows software, or the next Terminator 2, Jurassic Park. That gives us as an exporter, a huge edge.” – Gerald Levin, of Time Warner Inc. (Vanity Fair October, 1994)
Of course, we in Guyana are here witnessing it but a century away from initiating the mind set to recognise the potential that lies before us and the platforms needed to be constructed to carve out the tiny niche for ourselves in the brutal global market place of the entertainment business, transcending cultural and language barriers.
On March 11, Minister Nicolette Henry of the Department of Culture, Youth and Sport conducted a meeting with some members of the arts community to explore the prospects of support that the Ministry could offer towards the activation of Cultural Industries. This discourse was to the advantage of the practitioners who were there and there was a suggestion to form the outline of the foundation of this engagement.
The session commenced on the essential tool of Cultural Industries that lie within the strength of laws of copyright and licence and understanding contracts and the means to ensure that these Laws can be applied internationally so that collaborations with better equipped entities can be encouraged with our negotiated rights protected.
For example, a small budget full length movie with a topic that can catch a wide enough audience externally whether on TV or Cinema is beyond us, especially if special effects and stunt scenes are required. But if we can establish links of collaboration for a home grown effort marketed well to an active equipped entity, a spark can light us into a door. A clothing monarch of our time once said that “it’s better to be the smallest part of an elephant than to be the largest part of a beetle.” On that note in the discussion, a colleague complained that everybody should get a chance to talk, that it should proceed in the form of a good Guyanese line. The idea of the engagement was overshadowed as other interests nonetheless unimportant, took precedence. At one point a young Rastafarian whom I know well stood up and lamented that we had descended into something that he could no longer follow or understand.
Cultural Industries is very much like Guyana; it does not only constitute the coastlands, there are rivers to traverse, mountains to climb, and the knowledge to know the difference between sweet and bitter cassava. That Friday engagement taught me much about what needs to be taught at workshops and special seminars. With the understanding that the structure of cultural industries has two definite composites (local and export), let’s take a local reference. It is customary and legal almost everywhere in the Caribbean that radio stations play 40% local music and that advertising jingles be developed locally or permission be obtained for external music use. The fact is that the music selected that constitutes the 40% is still a choice for the local radio station, and royalties don’t amount to much. Its CD sales, foreign cover licensing and local advertising licensing that brings in some cash. Marketing agents will evolve to work for you and take a percentage, based on the contract you agree to, and let’s not to forget lawyers. But the local “free fuh all” has to be addressed. I’ve worked in the business of promotion. The business of promotion is to contract the most popular artiste, instrumental Band, juke box or stereo set. It’s profit or loss. If you’re in any Industry you have to know its history, how it works and that talent alone does not secure success. No! Guyanese are not foreign minded, they demand standards and celebrate great local talent, I can remember having to force Major Joby and Troy C off the stage before a hysterical Guyanese crowd so the feature Jamaican artiste can come on.
A young person once told me that Guyana would have had a professional recording studio if Burnham hadn’t stopped Eddie Grant. I was astonished because I had dealt with this in articles several times over the years. I repeat what I’ve said before, because I was there when Eddie refuted that bit of anti-Burnham propaganda. Eddie had explained to us that Burnham had advised him to go to Barbados because Guyana could not provide his studio with unbroken electricity at that time. I then advised him to read as much as possible on the subject of his career as we parted ways.
Creative Industries will happen in Guyana because we have the talent, and the interest of the current government.
We’ve had a long “black out” of the recognition of home grown independent talent. However, all players have to be involved. On this same note, I must state that most of our overseas talent contributed here before bread & butter forced them abroad.
Numerous trained musicians, song writers, I.T. pros and others will have to participate, because drama also needs music. We just have to sensibly claim the space to create.