NO one can fault Omar Davies’ description of some of the most glaring examples of the indiscipline, short-sightedness, and the unprincipled business practices of many of our artistes over the years, while on the international circuit or the negative impact it has had on our music industry as a whole.

In fact, I myself have written and spoken publicly about this albatross around our necks, on a number of occasions. At the International Reggae Studies Conference on February 19, 2010, I presented a paper titled: European penetration requires new strategies, in which I addressed this very issue candidly and quite comprehensively (blog post for Tuesday, March 2, 2010 groundingsblg.blogspot.com/). Be that, as it may, I honestly do not think that Dr Davies has thoroughly answered the question reportedly asked of him concerning the earning potential of the creative economy, simply by highlighting this contradiction, because it is certainly not the most fundamental deficiency in the structure of our local music industry. ‘Rebel Music’ as he refers to it, is being stifled by inaction from the establishment.

Sometimes I wonder if our politicians even study their own manifestos. For instance, the PNP’s 2007 election edition spoke of the intention to ‘extend the Attractions Incentives Act to the construction, development and upgrading of event facilities’. Presently, Jamaica does not even have one concert hall, or large outdoor amphitheatre designed, built and devoted to showcasing our music at an international standard! Furthermore, in a kneejerk reaction to legitimate calls for updating the Noise Abatement Act, the PNP Government of the day rushed amendments through Parliament, making the police the sole authority that issues permission under this act, without simultaneously legislating exclusive Entertainment Zones in each parish, so that the then burgeoning live music sector, could continue its growth in appropriately dedicated spaces. I just had a personal experience in St Catherine, where an Inspector of Police was with-holding a permit for a stage show, unless the promoter conceded to her unreasonable demands, to hire the amount of police, at their rate, to work at the event. Should that really be the predominant criteria for issuing permits?

Lest we forget, it was they who converted the Bob Marley Centre for Performing Arts in Montego Bay, into a site for upscale housing, in the heyday of Sunsplash, which was then attracting over five thousand visitors — not locals — to that resort town annually. Herein lies two of the major interrelated stumbling blocks to developing the true potential of our music to contribute to the economy.

Two other serious impediments to the development of the industry are the farcical Places of Amusement Licence, which allows each Parish Council to set arbitrary fees and conditions at their whims and fancy, for the use of venues and the Town and Country Act under which placement of advertisement paraphernalia are governed, without any uniform, much less objective standards and criteria. This, in my humble opinion, is an untenable situation inimical to the growth of the industry, on which the government needs to institute some urgent reform, in an attempt at a more structure policy to enable the sector to pull itself out of the current doldrums.

Let’s come now to the need to incentivise the sector. There is a draft Entertainment Encouragement Act that has been withering on the vine for nearly fifteen years. The JLP’s manifesto committed to passing it into law in this term of office. This would encompass formalising import policy on such things as essential tools of trade. The current list is far too narrow, and was drafted long before Jamaica developed a full-fledged entertainment sector. As it is presently constituted, it only covers musical instruments, and even so, whereas one can obtain duty reductions on the importation of guitars, it does not cover guitar strings. Furthermore, no modern entertainment sector can operate without equipment for recording studios, re-enforced sound and band gear specially designed generators, staging equipment, specialised lighting, trusses and other rigging equipment. This act should also address how and at what rate GCT is assessed for events. As the system is presently structured, these promoters are liable to pay full GCT on every ticket printed for an event, yet in every other sector, the business is allowed to deduct GCT paid on input costs from GCT collected on direct sales. Furthermore, this is done on a monthly or quarterly basis. Why should this principle not apply also to the entertainment sector? Frankly, we should be treated no differently than the Tourism Industry on this issue of taxes.

Finally, for years, payola has played a significant role in suppressing quality music, yet our politicians have not to date found it fit to pass legislation making the practice illegal. We really are not serious.

Email: che.campbell@gmail.com