Looking into our cultural future

The St James We Beat came off despite many challenges, with good crowds at events like the screening of local film God Loves the Fighter.

Sonja Dumas debuted her new screenplay at the Trinidad Theatre Workshop and Kees Dieffenthaller almost crashed social media because he cut off his locks in his bid for a “fresh start.” A new pan company was also formed, albeit with much less excitement and media interest than the hairstyle adventures of a soca star. According to reports, the International Steelband Foundation comprises five of the big names in the industry — Desperadoes, Massy All Stars, BPTT Renegades, Republic Bank Exodus and Phase II. Their focus is to ensure that the industry grows internationally, that the pan is marketed and is profitable for pannists.

These are important goals, and certainly, theoretically, competing interests will be good for the industry.

Unfortunately, I read that Pan Trinbago president Keith Diaz says that he was not invited to the launch and “I don’t know their agenda or what they want to achieve.” I felt considerable disappointment on seeing this. Although competition is good for the customer, I think that in matters of culture and cultural tourism, and particularly in matters of the national instrument, it becomes more complicated. As we seek to diversify away from the energy sector, culture will emerge increasingly as a viable, profitable option. We need to ensure that mixed messages are not being sent to potential international sponsors or participants as they try to decipher who are the legitimate representatives of our country.

I also had another thought on reading about the mandate of this new body. I am hoping that time will reveal a deeper philosophical basis, a purpose that will finally reach deep into our communities for long-term meaningful change.

We continue to find that too many young people from the areas where pan emerged still don’t know enough about this instrument that now has an international focus.

If pan and our other cultural emanations are indeed to be profitable, then we cannot continue to ignore the knowledge building and cultural indoctrination that must happen amongst our young people and wider communities. Our cultural organisations must recognise this responsibility and keep it at the forefront when setting their strategic purpose.

This sense of responsibility is needed in many other ways. Commenting this week on the passing of calypsonian Brigo, Aiyegoro Ome asked what of the convalescent home for calypsonians that was promised so long ago? It raises the important question of our cultural institutions and how they are serving the needs of their practitioners and of the wider society as well.

Is anyone trying to work out what our cultural needs will be in five years, ten years or further along in time? Apart from the finances, how do we make sure that all the activities being done in pockets by film-makers, animators, mas makers, stick-fighters, dancers, actors and other kinds of artists come together to impact our society for the long-term.

Further, how can our art equip people in areas of curriculum development, career paths and national development? The weaknesses in existing national bodies will no doubt continue to spawn individual efforts for change. But the truth is, if we are to fulfil our promise it will not be up to soca stars or other artists. Change must come from the very top and while we on the ground are not waiting, it is plain for all to see that this fractured model can only exist for so long.

D a r a Healy is a performance artist and founder of the NGO, the Indigenous Creative Arts Network – ICAN