Jamaica’s music product is a marvel in that it has managed to be largely self-sustaining in the face of significant obstacles. In this Reggae Month, I will outline briefly the main attributes and the deficiencies.

A globally recognised and beloved brand

It has undoubtedly been this nation’s blessing to have produced several distinct, globally recognised music forms, and, by extension, to have influenced the creation of several others. From mento through to dancehall, Jamaican music continues to enthral audiences and inspire new practitioners — even amongst persons who have never been to Jamaica or can barely identify the country on a map. The Jamaican sound is in very select company in this regard, with only blues hybrids rock and jazz having global appeal on the order of magnitude that roots reggae, and more recently dancehall, command. More recently, hip hop — a direct descendant of the Jamaican sound system culture — has become a global form on this level.

Even more than the music forms themselves, the spirit and energy that inform them have been widely recognised and admired. From Independence and equality struggles in Zimbabwe and South Africa, through Native Americans, Palestinians and Pacific Islanders, the messages of hope, justice, equality and “one love” in our music have ignited the hearts of millions, many of whom have been sufficiently moved to visit the birthplace of the music…some have even stayed.

Add to those factors the recognition of Kingston by UNESCO as a Creative City for Music, and all of us should take great pride and pleasure in the fact that our brand identity and cultural power are tied up in our music and artistic expressions. Despite some challenges, their validity has never waned nor been questioned.

Consistent and quality earnings for creators of content

In 2018, according to the International Monetary Fund’s World Economic Outlook, the creative sector as a whole contributed some US$730 million to Jamaica’s gross domestic product, representing about two per cent of the total GDP .

This overall figure belies the greater importance of the Jamaican sound to the country in terms of the intangibles; the revenues earned from the music/entertainment sector fund education for children, health care, travel and the multifaceted education which that provides, and the overall upward mobility of individuals who would otherwise be mired in poverty, and would also be more easily lured into counterproductive activities.

The music/entertainment sector not only serves us in terms of direct revenue, but in terms of the massive costs that it saves the public purse.

Earnings for all sizes and categories of players

As a corollary to the previous point, a vibrant entertainment sector means earnings for all categories of persons, whether live events or recordings. The linkages of this industry are universal, from legal, clerical and other professional services, to manufacturing, transportation and logistics, non-skilled and low-skilled contributions.

With all the great attributes which can be afforded to our music and the industry, there are still deficiencies, areas I would like to see change.

Absence of vibrant high-attendance music

With the trailing off of the novel coronavirus pandemic and the attendant easing of restrictions, we have seen in the United States and United Kingdom a ramping up of the music and performance scene, with both small concerts and larger shows and even festivals. These have been and will continue to be major contributors to the growth of the industry globally and Jamaica needs to take a proactive stance in developing events that can draw large numbers, especially of visitors, even in the current virtual era, to our shores for this purpose. The two major reggae festivals have sought to do this, but not on a sufficiently large scale. This area, in particular, is one in which I intend to have some impact, as the executive producer for the iconic Reggae Sunsplash, but it’s a process, and we are on the journey.

Absence of appropriate formalised training for industry players

Whilst the sector does provide employment and revenue for a wide cross- section of players, formal education and training that is sector-specific, has to be a priority. In other jurisdictions, institutions and schools exist at the secondary and tertiary level solely for training in the arts, including the vital aspect of navigating the business and technical elements. Even with the advances in digital training, many of these campuses have retained their relevance.

While Jamaica may not have the physical infrastructure to support multiple institutions, we have built a few world-renowned training facilities, of which the Alpha Institute (formerly Alpha Boys’ School) is arguably best known. By judiciously applying a well-developed digital training model, the existing training spaces could expand their reach and foster greater formality within the product without quenching the spirit that makes it unique and viable.

Absence of serious equity investment

Strictly speaking, this is not so much a deficiency of the music industry itself. There is, and has long been, a fragmented approach amongst the business community and officialdom to Jamaican creative expression. The hegemony of the “traditional” forms of economic activity has proven very resilient and hard to break down.

Nevertheless, players in the sector could do themselves and the country a huge service by presenting a more professional, business-friendly face to the investor community as well as to officials. This applies overseas as well as at home. Some have begun to do this, but we need to accelerate and deepen this process.

Tyrone Wilson is Founder and CEO of iCreate Limited, a digital and creative company, listed on the Jamaica Stock Exchange, and aimed at fuelling the growth of the creative economy by training individuals in various fields and establishing complementary companies.