The rapidly accelerating shift of artificial intelligence (AI) is transforming creative careers, reshaping how artistic work is produced, distributed, monetised, and experienced.

This looming change formed the core of the discussion at Kingston Creative’s recent meetup, ‘Creative Futures: How Tech is Shaping Art, Innovation, and the Creative Industries’.

The networking event was funded by the Development Bank of Jamaica, and experts and practitioners in the cultural and creative industries gathered to explore how AI is impacting the sector.

The panel of experts included Christopher Reckord, deputy chairman of the ICT Authority and chairman of the National AI Taskforce; Bonito Thompson, CEO and founder of DonDada Creative Agency, the Caribbean’s first augmented reality (AR) design studio; and René Roper, a chief legal counsel at Beyond Legal and Data Pro Consulting, specialising in AI, intellectual property (IP), and data protection.

While technology is unlocking extraordinary new possibilities for artists, it is also raising complex questions. Generative AI tools are pushing the boundaries of imagination, yet automation is disrupting long-established careers in graphic design, writing, music and film. AI is raising real concerns such as job displacement, inequity in access to technology, the unauthorised use of cultural content to train AI models, and the broader risk of cultural erasure if Jamaican voices are not included. Meanwhile, ethical debates around authorship, ownership, and cultural identity are growing more urgent, especially in regions like the Caribbean where creative expression is so deeply tied in to national pride, livelihoods, and cultural sovereignty.

Despite these challenges, the tone of the panellists was not one of fear but of optimism. Thompson spoke passionately about how his early adoption of emerging technologies like AR has enabled him to work with internationally recognised artistes like Common, Damian Marley, Sean Paul, and Spice and major global brands like Mastercard, Audi, Red Stripe and KFC.

“You don’t necessarily need a large team to get a large project done, and you don’t necessarily need a lot of time as well to ideate and move through that creative process,” he stated.

Thompson encouraged artists to understand the AI tools and use them to amplify their artistic talent.

Reckord, who also chairs the PSOJ’s Innovation and Digital Transformation Committee, explained that Jamaica is not merely reacting to technological change, the country is preparing to lead it. He stated, “AI has no culture, AI can give you text, AI can give you data, AI can give you pages of something but you, the creative, have to choose the right one and add in your soul into that.”

Through regional and national advisory bodies and collaboration between government and industry, he believes the country is developing the right frameworks required to strengthen the creative workforce and position Jamaica as a competitive digital economy.

Roper emphasised the role of the law in protecting creatives as technology advances. She stated that: “AI is a tool and we shouldn’t fear it, we should be positioning ourselves to leverage it for our benefit.”

She reminded participants that Jamaica’s cultural IP has immense global value and must be defended with strong legal structures that ensure transparency, fair compensation, and ethical use of creative works in AI development. As innovation accelerates, she argued, policy must evolve just as quickly to safeguard creators while still encouraging open exchange and experimentation.

Looking ahead to the next decade, the panel envisioned a creative economy defined by hybrid professionals, artists who are fluent in culture, business, and digital technology.