Which donkey are you?

Dara E Healy -
Dara E Healy -

Culture Matters

Artists and the Theatre of Cyberspace

Well then, if a man could watch the La Basse right dey

And build houses so near for people to stay

To take in that stinking stench the whole day

Somebody have to be mad, mad, mad

Somebody up in Whitehall mad

– Somebody Mad, calypsonian Chalkdust

SO THE story goes something like this. Back in the 1970s, calypsonians like Chalkdust, Sparrow, Duke and others were using their craft to dispense lyrical licks on politicians, in particular prime minister Dr Eric Williams.

At the time, the women of the PNM were fiercely protective of Dr Williams; they complained bitterly about the audacity of calypsonians who challenged their leader. Apparently, it was the calypso Somebody Mad that caused Dr Williams to calm the ladies with a dismissive, “Let the jacka-- bray.”

Jacka–es, it would seem, are again rearing their heads. From Whoa Donkey by the United Sisters – Singing Sandra, Marvellous Marva, Tigress and Lady B – to the chutney song Donkey (yes, it exists, He Haw He Haw He Horning You) – our fascination with this creature seems endless. Now, Devon Seale’s social commentary, Doh Jacka-- de Scene, summons the donkey again, as he tries to encourage people in TT to behave more responsibly concerning covid19.

Although we laugh at social media videos with countless variations of dancing donkeys and politicians, for members of the creative sector, asinine behaviour needs to stop. As artists explore survival in an increasing digital reality, it is worth understanding how we may protect creative works online.

This is not a new question. For 15 years, the Eintou Springer play Kambule was performed before thousands. Unfortunately, protection of the rights of the playwright, performers and other professionals was a topic that was never favourably resolved.

Our fears often played out as we discovered that Kambule was on television screens in Europe – in different languages with subtitles. Global media received full access to our creative product, not to mention the hundreds of smart phones uploading images, videos or the entire show online.

In addressing these gaps, organisations like the Film Company of TT continue to be vocal about the need for artists to be more specific about the terms of any engagement, from what is included in the fees to where the performance will be broadcast.

Admittedly, it is a balancing act for creatives. Salif Gueye, a Senegalese street dancer living in humble circumstances in Paris, is now working as a model and designing his own line of sneakers from sharing his Michael Jackson moves online. Visibility is thus a crucial aspect of promotion of our work, so the question becomes: what do you share for free and when should you protect your work?

This year, Jaquel Knight, choreographer for stars like Beyonce and Shakira, copyrighted his dance moves. It seems that he is the first choreographer to take “creative control” of his work in this way. Admirably, in launching his own company, Knight also “plans to represent rights for a diverse range of choreographers and creatives across all genres and mediums, acting as their strategic partner in copyright, licensing and beyond.”

The sector already understood that protecting the works of artists is an essential aspect of the path to financial freedom. Apple licensed music for its customers across platforms. Locally, the Copyright Organisation of TT made some inroads. However, we need new protective systems and education for members of the creative sector on how to balance protection and promotion.

As the industry catches up with the changes that are taking place, it is worth knowing that there are simple ways to protect creative output right now. Digital watermarking is available not just for photography and visual arts, but for music as well. And if you are sharing written content, make it difficult to download by disabling the right click function.

“PNM women don’t like me/They tell Deafie that Chalkie...bad talking the party...” In defiance, Chalkdust sang Let the Jacka-- Sing after being criticised by the powerful Williams. Donkeys have been labelled as stubborn, plodding creatures with little intelligence. But they have other characteristics. They are hardworking, never complain and Christianity links them to humility and the son of God.

As we seek a way out of this troubling period, even if you decide to jacka-- the scene, consider which type of donkey you prefer to be. People in the creative and other sectors are depending on you to decide whether it will be the donkey that brays or sings to positively impact our space.

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

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"Which donkey are you?"

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