TDC, La Diablesse and we
Dusk turned slowly into night.
Flambeaux created silhouettes, heightening the atmosphere created by the smell of the sea and the sound of the waves.
Our stories moved from legends of the First Peoples, to Anansi and Papa Bois. Then came the final tale, that of La Diablesse. Suddenly, without warning, a figure dressed head to toe in white with a broadbrimmed hat and cackling laugh emerged from behind the audience of parents and small children.
“Oh sh..!” The first adult to realise what was going on jumped and almost fell off his chair. Children started to cry, run away and hold on to their mothers. In our view, storytelling on the beach was a great success.
Through the initiative of the staff of the Tourism Development Company (TDC), the community storytelling series carried local oral traditions to the people, a brilliant concept that should have been continued.
I remembered these experiences as we talked in class with a sense of nostalgia about the closure of the TDC, to be replaced by two new, separate entities, promising more strategic harnessing of our cultural products.
The desire for the new organisations to work is tempered by decades of disappointment. There is much that is still not addressed in the approach to our creative industries, either as areas key to our advancement as a nation or as viable options for economic diversification. National projects like community storytelling are not sustained, so their potential to build the character of our citizens is never fully attained.
It is not easy to understand this persistent refusal to support creative and heritage industries to make even greater contributions to the overall finances of the country.
As one commentator writes, “the case for spending public money on culture is greatly weakened by this failure to fully get to grips with its relationship to the economy.” Certainly, at some levels the analysis has been done, for instance, regarding elements of our Carnival, whether room occupancy or expenditure on food and entertainment by visitors. As stated by a local online report some 10 years ago, the cultural and creative sector “makes an important contribution to the economy in terms of employment, exports and foreign exchange earnings.” Unfortunately, the report noted that the business, investment and managerial environments do not do enough to support the workers in this field.
In addition to Carnival, it is time that we also evaluate the worth of smaller, community-based activities, from Gatka in central Trinidad to the Patois festival in Caparo or the dirt oven in Parlatuvier. The truth is, we may understand the intangible value of our culture and heritage, but there is still a tremendous amount of work to be done to fully tabulate how much they are worth.
It is important to note that such an exercise would not be driven by a financial motive. Increased knowledge and awareness of our cultural and heritage endeavours will redound to the community, ensure profits for investors and benefit the country in the long term.
A regulatory body is supposed to be an integral aspect of the new incarnation of the TDC. While this is welcomed, decision-makers need to have a clear vision for institutional strengthening, international promotion of our culture and supporting small and micro practitioners to access opportunities for funding and capacity building.
After so many years of talk, perhaps it is time to summon La Diablesse, Lagahoo, Soucouyant and others to roam the corridors of power, so they can scare up some meaningful action to take our creative and cultural sectors forward.
Dara Healy is a performance artist and founder of the NGO, the Indigenous Creative Arts Network – ICAN