The entertainment industry, defined by the music, dance, drama and film sectors, is poised to generate increased earnings through exports for Jamaica according to the National Export Strategy (NES), but only if the threats to its viability are managed properly.

The strategy document outlined that entertainment is being positioned as a “major contributor to sustainable economic development, with respect for our intellectual property from which we optimise financial benefits globally”.

Studies have confirmed that the copyright sector, which includes all the sectors under the Entertainment umbrella, contributes approximately 5.1 per cent to Jamaica’s GDP per year and accounts for three per cent of total employment in Jamaica. Up to 2004, an estimated 6,000-12,000 persons were directly employed in the music industry alone. Recent estimates place that amount closer to 15,000 persons, the industry generating in excess of US$52.5 million ($4.6 billion) in revenues.

While employment levels are not as high in film — between 1500 to 2500 persons are employed annually on a part time basis — the industry generates revenues of US$14.3 million ($1.3 billion) annually.

These earnings are all in an industry that is described as fragmented, has very low levels of investment and promotion and a lack of awareness of avenues from which additional revenues can and ought to be garnered.

“The significant potential for export earnings from music, film, dance and drama could result in significant increase in exports and GDP,” noted the strategy document. “With the actual and potential linkages with other industries, the creative industries have the potential of becoming a major economic sector”.

Indeed, there have been signs of growth in the industry, but there has also been evidence of decline. One signal of growth is the increase in the loans and advances to the industry between 2004 and 2005. The NES outlines a 11.6 per cent increase to $346 million at the end of 2005. That the financial sector has increased its investment in entertainment is seen as an indication of its legitimacy as a revenue generating industry. There has also been an increase in the number of projects undertaken in film and music, with Jamaica Trade and Invest/Jampro recording an increase from 82 in 2001, to 121 in 2005 in its Film and Music Division. The number of plays and drama productions staged also increased from 24 in 2002 to 42 in 2005. Location filming brought in over US$14 million ($1.25 billion) in earnings in 2003.

However, the declines have also been evident. Royalties for Caribbean music and art dropped 27 per cent in 2008 to €3.3 million, according to a report by the International Confederation of Societies of Authors and Composers. Some see the fact that now some of Jamaica’s top artistes can no longer travel to the United States, a major market for music internationally, as an indication of a contraction in future incomes. The US accounts for 34 per cent, the largest share of the global US$100 billion market for music. They are followed by Japan, UK, Germany and France, with 18, 10, seven and six per cent of the market respectively. Canada holds three per cent, while Australia, Italy and Spain hold two percent, and Brazil one percent.

Michael ‘Ibo’ Cooper, founding member of reggae band Third World, lecturer at the Edna Manley College of the Visual and Performing Arts and board member of the Jamaica Reggae Industry Association (JARIA) told Sunday Finance that an appropriate strategy for Jamaica is to expand its export market further into the Caribbean, in non-traditional markets such as Brazil, Singapore, South Africa and India and diversify its revenue streams.

“We have traditionally been US oriented, which is understandable given their share of the market,” Cooper said. However, he said some of Third World’s biggest earnings were within the Caribbean region.

“That (the US/UK earning potential) has been a bit of an illusion because their media penetration is so wide. People think that you have to ‘buss’ in the US first… but in terms of the condition and expenses of touring its too much of a trade off,” Cooper said.

He also argued for more promotional efforts focused on music on the part of Jampro/JTI and more innovation on the part of the industry. In addressing the question of Jamaica losing its reggae market to other nationals, Cooper said this is not to be seen as a negative as Jamaican music has always been a moving target for imitators, a condition which spurs creativity.

“I see it as a creative challenge because whenever they catch up with us then we move ahead,” Cooper said.

L’Antionette Stines, principal of the L’Acadco Dance Ensemble, one of four primary dance companies in Jamaica at the professional level of staging productions locally and overseas, told Sunday Finance that the strategies that are so far outlined do not consider a pertinent issue facing the individuals driving the dance sector.

“Everytime they come up with things that could affect people in a positive way, artists are never considered and dancers and choreographers are at the end of that list,” Stines said. “We are never in any category to get anything.”

Stines argued that incentives such as allowances or subsidies on housing, cars and so on that accrue to public servants, athletes and other professionals as are never given to those in the creative industries such as dance. This limits the individual’s and thereby the sector’s scope for growth.

“Increase of exports has to do with the fact that I cannot afford the airline ticket and the other expenses,” Stines said. She added that though a strategy to improve exports from the sector is developed, dancers have to either fund their own travel and productions or beg for assistance from other sectors. “Other countries get discounts on national airlines,” she said. “We have to beg to get the money to represent our country.”

She said while copyright, increasing linkages and the marketing of the sector is important, as indicated by the NES, the sector needs funding and business development.

“We need a national endowment fund for the Arts that the private sector will put money in towards arts development,” Stines said. She said that this would assist artistes in developing their craft and performances, thereby improving the sector.

“Dance is at the bottom of the totem pole of all the arts and if we don’t dance to the music then you don’t make any money,” she argued.

Increasing the number of venues for productions as well as the proper management of existing facilities are also key developmental issues in the arts.

“There is an imbalance in the use of theatre space. Some people can use the theatre for 500 weeks and some can’t get it at all,” Stines said.

She said the Little Theatre is one example where such an imbalance is allowed to continue.

“Whereas, Philip Sherlock is very businesslike so this is not a judgement on all theatres,” she added. “This friend and friend thing has to stop now in Jamaica. It is too incestuous.”