This time the relationship was formed between the Caribbean and the United

This time the relationship was formed between the

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This time the relationship was formed between the Caribbean and the United States. While the extractive approach to development would continue, the regional industry managed to take off in the era of the 1970s and ’80s. This period featured a rapid spread of music production and the rise of sound carrier demand to give shape to a soon to be mushrooming ‘phonogram industry’ particularly in Jamaica. By 1983 Barbados’ WIRL had become a preferred choice for pressing albums this side of the region. It was particularly significant in aiding the local genre of spouge to remain on the airwaves. Music recording hardware was also limited. There was one studio considered “top of the line”, which quickly made its mark on the international music scene soon after opening its doors in 1981 – Eddy Grant’s Blue Wave Studio (Henry and Nurse 1996, 18). By the time of the 1990s, other emerging sectors mainly the audio-visual and the performing arts had begun to follow suit in terms of emerging commercial and enterprise development. Around the same time, the shifting interest of the regional and diasporic tourist markets triggered a festival tourism boom across the region that has seen the Barbados Crop Over Festival become one of the leading Caribbean festival “go-tos”. This is notwithstanding concerns and calls for strategies and initiatives to be actualised to ensure that the Crop Over festival, like other spheres of the arts and cultural landscape, maintains an indigenous and ‘true’ rendering of the Barbadiana festival experience. This appropriately brings into context consideration of what is needed to work towards cultural industry sustainability. Overall, there is need to maintain a nexus between commercial and enterprise development and harnessing and maintaining creative authenticity and indigenousness. Actualisation of this requires more than macro-policy. It requires the formulation, articulation and implementation of a practicable blueprint (a series of fully developed action steps, guided by the broader macro policy). Depending on the will, interest and capacity of key stakeholders, such a blueprint can encompass, but is certainly not limited to, the five key pillars outlined below: i. encouraging the imagination: the imagination may be deemed as more important than knowledge, as this is the foundation from which creativity, thought, and innovative Economic potential noted since ’30s, 40s • From Page 41A. • Continued on next page.
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MIDWEEK NATION. WEDNESDAY, NOVEMBER 29, 2017. 43D BARBADOS AT 51, The Next Step 43A WEDNESDAY, NOVEMBER 29, 2017 | INDEPENDENCE SPECIAL [email protected] practice stems. It is the necessary root for harnessing a spirit and culture of creativity among citizenry from a very young age, and from which a passion of indigenous production and entrepreneurship can arise. Imagination is creativity in action; ii. strategic programme for artistic/creative production and output:
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  • Summer '20
  • Dr joseph
  • Millennium Development Goals, Creative industries, Cultural industry, Cultural economics

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