It’s hugely perilous to submit a budget-related newspaper column the very evening of the presentation of the annual package of survival measures. The national budget was presented on Monday October 12. My submission to the T&T Guardian was expected that very day.
In
T&T, though, one thing you can rely on is a curious contradiction: a
country capable of producing world-class creative work remains focused almost
entirely on exhaustible and often unreliable assets. The value of these
resources, moreover, depends heavily on external factors beyond our control.
Such
irony is not unique to any single political administration. The T&T Chamber
of Industry and Commerce addresses the gap under its “Orange Economy” banner.
Meanwhile,
generations of world-class musicians, mas designers, visual artists, dancers,
dramatists, writers, and filmmakers continue to be treated as though their
principal value lies solely on tourist entertainment, “cultural preservation”, keeping
young people out of trouble, or occasional international acclaim.
The
clichéd truism of “culture as a unifying force that defines our national
identity” is insufficient to acknowledge economic value. It’s like how the need
to “harness” potential, without specific evaluation of what can be useful to
achieve this, can ring hollow without mention of tangible funding and
performance indicators.
The
problem has never been a shortage of talent, unifying potential, enterprise, or
productivity. We are looking at this during a week in which final tributes are
being paid to the late, great Mighty Sparrow.
All
of this is occurring in the middle of an arguably unprecedented explosion of
creative expression in this country. This is particularly so among the “lost
generation” who are being openly targeted
for “buss tail” punishment and age discrimination – as opposed to protection -
through law and official policy.
The
problem may well be that those responsible for tailoring the basic frameworks
for development of economic options are unaware of what is actually transpiring.
I strongly suspect so.
I
roam the creative space quite a lot and even participate. But I don’t regularly
see the decisionmakers where I go.
There
have been numerous art exhibitions, dance recitals, operatic performances,
calypso shows, jazz and pop concerts, spoken word events, and literary
expositions.
The
people who crafted the minister’s speech – both in its economic and political
dimensions – need to prove to some of us that they have been around to witness
what is happening. If not, there can be no claim of enlightened evaluation.
Next
weekend also marks the launch of Panorama 2027. That’s a whole different story.
This space has been overly employed to stress the latent economic value of the
national instrument – not only as a source of music, but as a renewable
resource involving growing numbers of young and old people – including the
“lost generation.”
| Shell Invaders Youth Steel Orchestra - Winners 2026 |
Mention
of skills-development for a culturally important industry such as steelpan is
important. However, the scope of what was identified on Monday does not capture
the broader steelpan ecosystem of performance, composition, arranging,
instrument design, festivals, recording, distribution, and international
promotion.
With
diversification being an enduring, recurring national aspiration, the question
is whether the creative sector will be treated as a collection of deserving
cultural interests or as an interconnected economic system capable of
generating employment, exports, investment, and innovation.
There
is some evidence that the opportunity is substantial. A January 2023 CDB study
- The Contribution of Copyright-Based Industries to the Economy of Trinidad and
Tobago - estimated that the creative industries accounted for 5.5 per cent of
GDP in 2016.
This
was equivalent to approximately TT$8.3 billion in value added. This marked an
increase in estimated contribution from 4.8 per cent of GDP in 2011. The study
also estimated that copyright-based industries accounted for 20,113 jobs in
2016 and generated a positive overall trade balance of TT$113 million.
These
are historical estimates covering a broad range of “copyright-based” industries,
not a current valuation of the entire creative economy. So, don’t take this
away as unquestioning fact. The figures however provide evidence of economic
activity that deserves far closer attention.
The
report's significance extends beyond its numbers. It identifies the potential
for investment in copyright-based production to strengthen productivity, expand
foreign currency inflows, and help diversify a near monocultural economy.
Its
recommendations include financing arrangements, incentives, improved copyright
enforcement, institutional strengthening, and investment in skills.
These
are not simply “cultural policy” concerns. They are economic development
requirements. Even if we acknowledge gaps in the 2023 analysis, where are these
broad sentiments in Budget 2027? When have they ever been there?





