MONETISING Jamaica’s culture has been a concept discussed for a number of years and now writer and cultural insider Donovan “JR” Watkis is adding to that discourse with his latest publication, Cultural Capital to Financial Capital.

This is the author’s third book and will be made available come this Wednesday in hard-cover, paperback, as well as for Kindle via various popular online platforms, in addition to its own website.

Watkis’s work features interviews with a number of Jamaican musical artistes and sports personalities including Shaggy, Sean Paul and Usain Bolt who all share their personal journeys and anecdotes on how they have successfully manoeuvred international markets, climbing to the top by capitalising on this cultural strength. It also offers strategies on how to use culture to one’s competitive advantage.

“For too long our culture has been devalued. It hasn’t been seen as being valuable and having the ability to take us forward and help us rise above our circumstances. Our culture is that edgy sway that we see in a Usain Bolt, and that intangible element that is ever present in our reggae and dancehall music. It has been here forever but we have not been taught how to appreciate it and present it in a a way that it yields maximum benefits for the individual as well as the country,” he explained.

Watkis conducted 43 interviews in pulling together data for the book, and noted that among the lessons he learned was how much a great many persons do not understand the potency of Jamaica’s culture.

“So many of our artistes want to ‘buss’ and reach the mainstream. Many of them believe the quickest route is to shed their culture and adopt the more popular culture of the market they intend to enter. This book is here to show them that our culture is popular and in demand. All these artistes need to do is be their authentic selves. Sean Paul is a prime example of always being his authentic self.

“Sean Paul does not go to pop music. In fact, the opposite happens — pop music comes to him. They come to him so that he can add some of that Jamaican culture to their music. So the lesson is: We don’t have to shed our culture in order for our art to be seen as valid. We need to use who and what we are to reach the world. If we are in doubt, we have clear examples in international acts such as Justin Bieber, Rihanna and Drake who have all sought out and utilised Jamaican culture to boost their output,” Watkis continued.

Of particular concern to Watkis is the fact that so many local artistes do not own their music masters and as such have no control over their career and ultimately where their music can go.

“So many of our artistes are in this position. They cannot dictate how much they make as they are not the owners of the culture — even Sean Paul doesn’t own the masters to some of his big hits,” he noted.

For Watkis, our artistes need to strike a balance in order to dominate locally and make an impact internationally — and hence turn that cultural capital into financial capital.

“Having decided to collaborate with a Jamaican act, the last thing an American act, for example, wants is a Jamaican trying to sound American. Hip hop acts have the handle on gun lyrics and sexual and salacious lyrics. What we must do is bring that edge and do what we do best. Just listen to Shabba Ranks and Johnny Gill with Slow and Sexy. Johnny Gill did what he does best and so did Shabba. Same thing for Sean Paul and Beyonce on Baby Boy.”

Unfortunately for Watkis none of the contemporary artistes are making the right moves to leverage cultural capital and financial capital in a major way.

“Koffee perhaps has the edge but the thing with Koffee is that she needs a real hit. She has had turntable hits with tracks such as Toast, which has been endorsed by the likes of Barack Obama, but she needs a real hit to help her move into this direction. More seasoned acts such as Shaggy and Sean Paul are making those moves and of course we have the example of Bob Marley.” Watkis shared.