We global stage

DARA HEALY

“I guess it will be an exciting time for her. I know what it was like when I was nominated for an international award before. There is a certain kind of fullness that you feel, a good feeling.”

Bunji Garlin speaking about Nailah Blackman’s nomination for the 2018 Black Entertainment Television’s (BET) Viewers’ Choice award — Best New International Act.

Over the past week, I have been sent several reminders by my neighbours, friends and colleagues to vote for Nailah Blackman to win the BET award. She is one of ten international acts nominated, including from Latin America, the United States, Africa and the Caribbean. Undoubtedly, winning this international award would bring an immense amount of satisfaction here at home and across the Caribbean. A victory would see her following in the path opened by other nationals, from Heather Headley to Machel Montano and Calypso Rose. And once again, the view is being expressed that a win would help to put the music of TT “on the map.”

Undeniably, citizens of TT — from Claudia Jones to Minshall, Andre Tanker, Julia Edwards and Astor Johnson – have blazed trails and opened doors for our creative sector. Brother Resistance gave his vision to the early Rapso movement; Lord Shorty, Nailah’s grandfather, seeing synergies between African and Indian rhythms, gifted us Soca. And Claudia Jones, a Belmont girl, was pivotal in starting Nottinghill Carnival. Indeed, it is said that the TT Carnival has inspired at least 100 similar festivals from the United States, to Europe, Canada and across the Caribbean.

But although we have given the world so much, how do we value our presence on that global stage? Is the mere appearance on the stage validation enough, or should we be aiming for something deeper, more sustainable. How can local artists who receive global attention influence true integration of our creative industries into society, and help them achieve their potential for economic diversification?

Further, how can we turn our appearances on the international stage into opportunities to advocate for the development of a creative industry based on a clear concept of national identity? How can our artists better use international platforms to advocate for fundamental change in the sector and our nation? And why should they use their access to a global stage to do so?

In 2017, former US First Lady Michelle Obama presented (via video link) the BET Humanitarian award to a 24-year-old rapper. The performer, known as Chance the Rapper is well respected in his community of Chicago, as he uses music to campaign against gun violence, promote racial justice and help inspire behaviour change. The 2016 winner of the award, Jessie Williams, used the attention to speak passionately about racial inequality and discrimination in the United States. “Looking at the data, we know that police somehow manage to de-escalate, disarm and not kill white people every day. So what’s going to happen is we’re going to have equal rights and justice in our own country, or we will restructure their function ...”

This year, Watson Mere, a Haitian-American artist, created a piece of work called My Brother’s Keeper that went viral. It showed Martin Luther King covering President Trump’s mouth after alleged derogatory comments made by the latter about developing countries. Mere had no idea that his art would generate an international following; he was simply reacting to a statement that offended him. “... Almost 300,000 people died and those were the comments he made around the anniversary of the earthquake (in Haiti).”

Certainly, it is not necessary for every artist to take this type of approach to their work. Outspoken statements admittedly involve a level of risk, to the reputation of the artist and to his or her potential for earning. It may be argued that David Rudder is one of the few artistes who stays relevant, because he takes risks. Machel and Bunji also used their star power to summon the spirit of Joe Talmana in Buss Head, intensifying the process of linking stick-fighting practices with mainstream music. Has anyone thought of using Buss Head to bring to life literature, history or social studies?

Access to an international stage brings with it rewards as well as responsibilities. It is time that we seriously interrogate this question of maximising the value of those artists who have an international profile, with a view to furthering our development goals. In the meantime, we have a chance to add another artist to the list — go vote for Nailah.

Dara Healy is a performance artist and founder of the NGO, the Indigenous Creative Arts Network – ICAN.