Jamaican, The Cosmopolitan

I wish to fully endorse Clyde McKenzie’s line of reasoning last week, to the effect that “what has been clear to me is that within our cultural industries, lies our economic salvation”. He went on to say, “the cultural sector is recognized as the area with the largest growth potential in our economy”. Clyde then raises the perennial question “how much of what [presently] comes in as tourism income... is directly or indirectly due to the strength of our cultural industries?”

Almost as if to justify this fundamental question, on the very same day, May 4, 2008, the Sunday Gleaner ran an article written by Krista Henry stating that “in the last 15 years, according to the website of the Embassy of Jamaica in Tokyo , over 100,000 Japanese travelers have visited Jamaica not only for sightseeing, but Reggae and Reggae concerts.” The article goes further to state that “today, Reggae music is a multimillion dollar industry in Japan ” to the point where “now Japan has copied all aspects of Reggae/Dancehall culture”.

Of course, we could site many more countries in Asia, Europe, North and South America, Africa and even the Middle East where Reggae has had such an impact that it continues to attract tourists to Jamaica . The relatively recent so-called ‘Spanish Invasion’ has been influenced in no small part, by their love of Jamaican culture and ganja. However, since I know that Clyde is referencing a much broader cultural spectrum, I will not dwell on that today. If may take the liberty of interpreting what Clyde is speaking about, I think the bigger point he is making is that we need to harness the various strands of our culture together in a direct, structured and commercially viable way, by cutting across and integrating our various art forms and discipline into a whole(some) sustainable package which is marketable and more so, represents us as a people.

Let us, for example, examine the approach taken by some West African countries, like Togo , Mali and Cote D’Ivore. They have set up some living interactive villages. In these communities, they have injected scenes of traditional lifestyle, coexisting with modern art forms. I found this approach to market art and craft so superior to our craft markets that I firmly believe that if it were adapted to Jamaica it would transform our potential to market our craft and in the meantime provide our visitors with a more fulfilling experience and knowledge of us.

But then, it is back to defining ‘Brand Jamaica ’.

Recently, Paula Giddings, a professor of Smith College , USA , in reference to Barack Obama said “it will be interesting to see if a man of colour, a man who is cosmopolitan, can be the quintessential symbol of America ”. She could easily have been highlighting an essential characteristic of Jamaicans. Traditionally, it is from this perspective that we approach our artistic impressions. Never mind the fact that now when we go to a dance, it feels like we are entering a war zone. It is also within this context that our culture is readily attractive and assimilated by the rest of the world. Our history and diversity have a lot to do with who we are as a people and what has created this unique culture. For a long time, Jamaica has been a sort of crossroads for world trade and population migration. The evidence is strong that disparate cultures in America and Africa had drifted to and already begun to integrate in Jamaica , long before Columbus ’ voyages, which itself became a second wave, carrying not only Europeans and equatorial Africans, but Jews and more specifically Islamic Moors (North Africans). Between then and now, the island has become a veritable melting pot, including cultures like East Indians, Chinese, Middle Easterners and even a new influx of South Americans in modern times.

During colonial times, Jamaica became the most favoured nation, supplying the colonial office and American multinationals with many officers, technical, administrative and labouring staff in some far-flung exotic places. The middle class became exposed to other cultures, cosmopolitan and the most enlightened and dominant class, inspiring and promoting cross-fertilisation of varied cultural influences and impulses in Jamaica . Remember though, that the population is 96% African stock, interpreting everything from this orientation, adding colour and spice to all we adopt. Without getting into psychological semantics, this is who we are, what inspires our lifestyle and what make our cultural manifestations so alluring to the world.

Another important influence is the beautiful mild, tropical environment and climes, we have inherited by being so close to the equator. This has produced an active, outdoors, recreational instinct and habits which further enhance our charm as a people. This is the intangible product that we need to refine, develop and promote as ‘Brand Jamaica ’. As Clyde puts it, “we have seen the unmistakable influence and power of Jamaican culture- it is now time for us to make use of the tremendous opportunities associated with this phenomenon”.

Today, I end on a very sad note. The untimely passing of Rohan Bryan is a loss to the entertainment industry and has totally devastated his parents, Robert and Andrea Bryan of Grizzly’s Entertainment. Rohan was an inspiration to many, by his example. His unassuming, humble and calm disposition, were very admirable traits. I wish for ‘Saddle’ and Andrea, the strength to overcome their pain and cherish the memories of the wonderful son he was.