Creative Industries Final

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According to UNESCO’s “Culture, Trade and Globalization Questions and Answers” cultural industries are those that “combine the creation, production and commercialisation of contents that are intangible and cultural in nature; these contents are typically protected by copyright and they can take the form of goods and services.” (UNESCO, 2000). The Caribbean region has a rich and diverse cultural heritage which makes it ideal for nurturing creative or cultural industries. According to social scientist, Dr. Keith Nurse (2006), cultural industries should be viewed as a critical strategic resource in the move towards creating sustainable development options in Small Island Developing States (SIDS). Nurse asserts that culture should be the fundamental pillar of sustainable development for the Caribbean region as it not only advances identity formation and nation building, but also generates new forms of employment and exports, thus diversifying economies and facilitating competitiveness. This paper seeks to examine various sub-sectors of the creative industries which possess growth and export potential for the Caribbean region. The sub-sectors include: Music, the Audiovisual sector, Innovation and Industrial Design for Cultural Items, Art and Literature, Fashion and Caribbean Cuisine. Despite the many known advantages and benefits of creative industries to the Caribbean region, not enough has been done to capitalize on these industries. Through a careful analysis of each of the sub-sectors, some of the anticipated challenges as well as firm-specific strategies will be outlined. This will be done within the context of existing trade agreements, legislative and policy environments which may either promote or hinder the development of creative industries within the Caribbean region.

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THE MUSIC INDUSTRY

The Possibilities for Growth and Export of Music Music as a sub-sector of the creative industries in the Caribbean region has the potential to stimulate economic growth, provide employment, foster human development and market the region as a tourist destination. The region has successfully introduced reggae and steel pan to the global music industry and there are great possibilities for growth and export of the domestic industry. Advances in technology and digitisation of the global music industry have fostered the accessibility of music and facilitated the artist’s penetration of international markets. Furthermore, such shifts in the production and consumption have resulted in increases in global music revenue from the digital trade; increasing by 8% from 2010 to 2011 and representing 5.2% billion US$ revenues; Pricewaterhouse Coopers anticipates an increase at 12.1% in digital spending over the next five years with a 2.8% increase for non-digital spending (Deloumeaux, 2012). Existing trade agreements which Caribbean countries have signed on to, serve to provide market access which allows the local artists to reach wider audiences. The CARICOM Single Market and Economy (CSME) allows the free movement of artists and musicians throughout the region and grants such persons the right to seek employment in any member state and this regional access may serve as a platform to the international market (Shridath Ramphal Center, 2010). A Regional Task Force on Cultural Industries also advocates for the development of the cultural sector and the artists. Comprehensive provisions on cultural co-operation is also provided by the EC- CARIFORUM Economic Partnership Agreement which allows preferential market access, each allowing ease of entry and temporary stay in their territories (Ibid, 2010). 3

The EPA between CARIFORUM and the EU allows trade liberalisation of entertainment services and provides duty free and quota free access (Nurse, 2009). Provisions for cultural co-operation in the Caribbean are also being made under the CARICOM Canada (CARIBCAN) trade agreement and the CARICOM-Costa Rica Free Trade Agreement which all provide a range of possibilities for increased growth and export of Caribbean music.

However, a number of

challenges remain.

The Challenges One of the challenges which hinder growth of the Caribbean music industry is rooted in the region’s inability to adapt to changes in the global music industry, namely the digitisation process. Smith, 2012 observes that the Caribbean artists are unable to compete with internationally acclaimed artists as a result of the limited successes of digitisation. Additionally, Caribbean music has not been able to penetrate the global digital economy in a region where very few persons purchase music online. Piracy remains high since technological advances have made the copying of music easy, as well as the level of exported royalties which add to the local industry’s losses. Another challenge suggested by Smith, 2012 is the need for a greater focus on the development of song writing, marketing and publishing skills. Shridath Ramphal Center, 2010 further contends that the Caribbean’s cultural industries have been undervalued, often regarded in terms of entertainment and cultural expression instead of as a form of entrepreneurship. Furthermore, the continued existence of preferences for foreign music over local music presents another challenge. Fragmentation, the disorganised nature of the music industry and the lack of data regarding the number of persons employed in the industry were identified as additional challenges to growth. Incomes for local artists who have gone 4

abroad on a full-time basis have increased and they enjoy the benefits of greater copyright protection, however local economies seldom benefitted from such successes.

Firm-Specific Strategies to Take Advantage of Existing Trade Agreements While government has a key role to play in the development of the creative sectors as a means for increased growth, investments by firms are essential in order to take Caribbean music to the international level. Firms may serve as supportive cultural institutions which offer not only financial and technological support but also training of musicians in reading and writing music, publishing and marketing the Caribbean brand to the global market. Such strategies may work to stimulate innovation which is necessary to improve competitiveness (Nurse, 2001). In addition to this, firm investment has the potential to improve the quality and standard of the Caribbean music industry, increasing value added and thereby granting musicians a competitive advantage. Commercialisation of the regional industry will serve to improve demand conditions thereby allowing local artists to penetrate wider markets.

Legislative and Policy Environments Necessary for Music as a Sub-Sector to Thrive   

Improvements in the implementation and enforcement of copyright laws and regulations. Put anti-piracy legislation in place in order to address illegal downloading of music. Improve policies that already exist and establish new ones in the areas of Industry, Trade, Intellectual Property, Media, Culture and Education.

THE AUDIOVISUAL SECTOR 5

The need for diversification is without a doubt one of the main concerns for all CARICOM countries as many hinge their development to one economic driver.

One of the

sectors which have shown growth and potential within the creative industries is the audiovisual industry. The audiovisual industry comprises films, videos, television productions, animation, documentaries, commercials, and fashion shoots. While there is little data on the size or capacity of the audiovisual industry in the Caribbean, it is without doubt that it has become a new platform to expose Caribbean culture and to create more opportunities and income for Caribbean inhabitants. Both film and the animation sub-sectors have shown great potential in recent times. Today, audiovisual production is one of the most powerful means for the transmission and shaping of values and attitudes in society and one of the fastest growing industries in the world. The economic and political stakes are therefore enormous and Caribbean governments should pay special attention to the cultural implications. CARICOM/CSME Under the CARICOM Common External Tariff Member states may exempt goods for the cultural sector from duty. The three main categories of goods include goods for educational and cultural purposes, goods for the movement of persons (including “tools of trade”) and goods for other approved purposes (including advertising materials and tools to carry out contractual work). The list of Conditional Duty Exemptions (CDE) however has several limitations to be of full benefit to the cultural sector in the region. For example, there is no region-wide guarantee under the List of CDEs that a particular Member State will apply the exemption at any given time or to any given sector. Also, the exemptions apply only to the CET rate (i.e. import duty), not to other duties and charges at the border, nor to internal taxes. (Silva, 2008) 6

CARICOM Single Market Economy (CSME) has also made several provisions for the free movement of skills which include media workers, camera operators and graphic artistes who are all vital to the audiovisual industry within the creative sector. Several CARICOM Member states have also allowed for the free movement of equipment. However, there is still difficulty due to non-implementation of commitments by some CARICOM states. The CARIFORUM-EU Economic Partnership Agreement (EPA) This is the first trade agreement from the EU that fully liberalises trade in creative goods and services to a significant extent. Several questions regarding the offer to CARIFORUM countries in entertainment services remain. For example, according to the Trade in Services aspects of the negotiations, the EU negotiators have pressed for a means of certification for entertainers and other cultural workers who do not possess a University degree. The question as to whether most cultural workers would be able to meet this requirement is one that needs to be addressed. (The Caribbean Cultural Industries Network, 2007). The Protocol on Cultural Cooperation (Annex 1 to the EPA) as stipulated under the UNESCO Convention has provided the necessary framework to facilitate the trade of cultural activities, goods and services in the audiovisual sector. CARIFORUM countries gain key benefits from the Cultural Protocol: “1) allows access to funding for the AV sector; (2) cooperation on standards to ensure compatibility and interoperability of technologies; (3) facilitates rental and leasing of technical material and equipment; and (4) facilitates the digitalisation of audio-visual archives. From this standpoint the EPA offers a strategic opportunity to the CARIFORUM AV sector once co-productions have been negotiated and implemented.” (Nurse, 2010, 1: 25) 7

Challenges for the Regional Audiovisual Sector Like most developing country regions, the Caribbean is faced with fierce competition from leading industries in the US, India, UK etc. A key challenge as previously mentioned, is the wide range of tariffs, duties and charges for the importation of equipment and supplies. Only recently, the Government of Trinidad and Tobago declared in its 2013 Budget that digital video recording equipment will be exempt from customs duties and VAT. Also, 150.0 % tax deduction up to a maximum of $3 million has been granted for the corporate sponsorship of audio visual or video productions for the purpose of local education or local entertainment. (Trinidad Express, 2012). On a regional level, more has to be done regarding the reduction of tariffs on cultural goods and services as well as the movement of labour and services. The lack of data and information regarding the current state of the audiovisual industry in the Caribbean makes it difficult for any strategy to be put in place on a regional level. A thorough assessment on a country level can allow regional policy makers to get an overall view of what can be done to bring the necessary growth for this sector. While the onus lies on CARICOM governments to create the environment necessary for the AV industry to thrive, there is a need for a regional approach through the harmonisation of policies and institutions. This will ensure that the Caribbean region can get the best deal from existing trade agreements as well as allow the region a better chance for global competition. INNOVATION AND INDUSTRIAL DESIGN FOR CULTURAL ITEMS The concept of Innovation and Industrial design has been a critical tool in the harnessing and expansion of sophisticated and globally competitive cultural products of an esteemed artistic merit within the Caribbean’s sphere of Creative Industries (CIs). The essential perspective of 8

innovation and industrial design as a driver of competitiveness in the development of CIs calls on the “urgent need to identify new competitive strategies that would differentiate Caribbean products, both goods and services, in ways that would make consumer choices less sensitive to price differences” (Spence, 2012). Subsequently, manufacturers are encouraged within CIs to move from under the eroding umbrella of preferential market conditions and into an attitudinal mindset of strategic, state-of-the-art entrepreneurship.

At this juncture, Caribbean product

engineers and designers along with business support organisations and government policymakers have adopted several structural ‘best practices’ of innovation in an attempt to stimulate a competitive advantage for Caribbean cultural products while capitalizing on well-differentiated designs that authentically brand the region’s ‘Caribbean-ness’ and West Indian roots. Innovation and industrial design has improved Caribbean creative output vis-à-vis the establishment of new technological platforms that act as catalysts for contemporary and competitive schemes of production, delivery and marketing. The process through which the quality, value, appearance and functionality of cultural items is being developed is now considerably being dictated by digitisation and advanced information technologies. The digitisation of creative content has offered producers throughout Caribbean CIs an opportunity to adequately respond to the ever-changing tastes and preferences of consumers and clients in globally competitive markets. The implementation of digitisation and thus, commercialisation has therefore not only led to modern ‘face-lifts’ of traditional products unique to Caribbean culture but also increased engagement between producers and clients/consumers. This means that innovation has in itself assumed a co-productive nature that strategically responds to the competitive demands of both traditional and emerging markets of cultural items. Furthermore, industrial design of cultural items is being transformed by Caribbean manufacturers’ invested 9

interest in a technique of ‘hidden innovation’ referred to as Research and Development (R&D). R&D aids in facilitating Creative Industries with the knowledge-based material needed to enhance the appeal of products while proposing even more well-organised entrepreneurial models. Existing content and its product design is remodelled according to the assessments, measurements and indicators made through conventional market R&D. In Trinidad and Tobago, there are two prime cases that highlight the priority placed on innovation and industrial design as a key factor in the success of Creative Industries. Firstly, Panland Trinidad and Tobago, the global governing manufacturer, exporter and marketer of the steelpan instrument has recently endorsed and co-produced a new, versatile computer software with Digital Business Ltd., a Caribbean consulting company that specialises in management and technology. This breakthrough software application offers steelpan enthusiasts and even firsttime learners the opportunity “to play any of the major pan instruments, such as tenors, guitars, cellos and bass. People can play their favourite tune and even try composing and recording pan music” (Guardian newspaper 2012). This innovative computer software illustrates the use of digitisation to boost the marketability, functionality, value and appeal of the steelpan, a globally appreciated cultural product. Secondly, the Caribbean’s Creative Industry ushered itself into another dimension in the use of innovation and industrial design when Angostura, leading Caribbean rum producer and global market leader for bitters commemorated Trinidad and Tobago’s 50 th Independence with the creation of a limited edition of twenty decanters valued at EUR 20,000 each. Throughout a 6year period of meticulous innovation and industrial design, a total of seven of Angostura’s most exceptional and rare rums were fused together to produce the final end product. Furthermore, Angostura co-produced the intricate and sophisticated design of the twenty decanter bottles with 10

Asprey of London, the jeweller to the Prince of Wales. Notably, these limited edition decanters took an extensive 56 hours to be created by a team of ten diverse craftsmen with a high level of skill and mastery. “Not only is the rum of the highest standard in the world, the decanter, stopper and presentation box are also unique collectors’ item. (Wong 2012). As the Caribbean’s leading rum producer, the intensity and scope of innovation and industrial design used by Angostura in developing this limited decanter reflects specific emphasis on co-production and R&D as two major factors that determines the competitive capacity and value of cultural items in the global market. As the Caribbean’s Creative Industries continue to flourish, other areas of focus must be highlighted and challenged to ensure that cultural items are indeed competitive and unequalled across global markets. There must be a broadening of networks and spheres of engagement between Caribbean manufacturers and their global clients and/or consumers. As a competitive frontier for cultural items is established, policymakers and entrepreneurial leaders must focus on the matter of Intellectual Property Rights (IPRs). That is, the Caribbean in being competitively global and first to enter markets, must have legal rights over the products/ items of the region’s creativity. ART AND LITERATURE Art and Literature are important sub-sectors within the Caribbean creative industry which provide an ideal opportunity for the trade of unique exportable products which reflect indigenous Caribbean culture and heritage.

The Caribbean region has been known for producing world

class authors such as V.S. Naipaul, Derek Walcott, Jean Rhys and Jamaica Kincaid as well as artists like Peter Minshall, Brian McFarlene, Jean-Michel Cazabon and Boscoe Holder, to name a

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few. Such talented individuals have exposed the rest of the world to the unique Caribbean experience and by so doing have set this region apart from any other. Unfortunately, for many years, Caribbean artists and authors have struggled to make a living from their work and many have migrated to other parts of the world. As the demand for Caribbean culture by foreign markets continue to grow, so too must the support for these subsectors by governments, business people and local consumers. A serious commitment to the Literature and Arts sectors can prove beneficial to the region in creating revenue, jobs and other linkage industries.

The Challenges Nurse and Nichols (2011) acknowledged that Caribbean publishers tend to be underdeveloped as they rely heavily on the “hard copy” format of published materials. Although, there are fairly new publishers who utilize technology in producing e-books, the Caribbean region has been relatively slower in catching up with the latest technology for the sale and distribution of books. The challenge of shifting to new technologies such as e-books remains as there is a lack of technical skills, available technologies and necessary funding. Nurse (2006) has noted that the art and publishing industries have had a poor trade performance due to the lack of investment in these sectors. The lack of professional artists and writers has resulted in an inadequate production of cultural products for export to regions outside of CARICOM. Artists and authors sometimes lack the knowledge of trade agreements and how to find new markets for their work. There is need for the necessary transfer of knowledge and technology to artists and authors in order to allow them to successfully market their art work to external markets. 12

The arts and publishing sectors also suffer from the shortage of national art galleries and publishing houses within the CARICOM states and where these exist, there is oftentimes a lack of sufficient economic and infrastructural support for these agencies (Nurse, 2006). The Caribbean Publishers Network (CAPNET), for example, is in dire need of funding, adequate staff and capacity building in order to invest in Caribbean Literature. There is also the need for the proper legislative framework to be put in place to protect original work by artists and authors. More needs to be done to update national copyright and trademark laws to enable right holders to seek opportunities for revenue generation in the digital environment. The protection of intellectual property rights needs to be implemented.

Strategies for existing trade agreements China’s Vice Premier Wang Qishan in 2011 stated that the Chinese government will seek to increase cultural exchanges with the Caribbean regions over a three year period. CARICOM can seek to implement a strategy to take advantage of this offer by China. The strategy should be to increase the number of art and published material being exported to China, by firstly increasing the incentives to Caribbean artists and publishers. There is also need to take advantage of Protocol 111 on Cultural Cooperation of the EPACARIFORUM by increasing export trade of literature and art to the EU. Caribbean publishers need to explore these markets by seeking to have books translated in different languages so as to increase the market for export to different EU member states as well as China. The Caribbean region can also seek to target the top importers of art and published goods such as Europe, the United States and Japan. Tax breaks and incentives can be implemented through the CARICOM governments to motivate professionals to increase the amount and 13

quality of goods they produce in order to target markets from the top importers. CARICOM can also seek to establish better trade agreements with other potential cultural importers. Proper promotion of Caribbean art and published works needs to be done to increase the market for these sectors. Caribbean literature and art present opportunities for convergence with other sectors such as entertainment, media and marketing industries. Books for example can be made into films, comics and theatrical productions. Theme parks, festivals and award ceremonies for Caribbean literature and the arts can attract foreign investors as well as provide opportunities for the promotion and sale of literary and artistic works. In order for these sectors to grow CARICOM governments need to show more support for these untapped resources by formulating a regional approach to the trade of literature and arts. There is also need for their investment in the necessary research.

Enhancing data

collection is critical for national policy‐making as well as strategic industrial and business planning for the creative industries. Data on these creative industries will indicate the capacity of trade for the region, and provide a better understanding of the areas that need assistance and development in order to stimulate revenue and economic growth. FASHION Over the past decade, fashion can be identified as one creative industry which has demonstrated significant strides worldwide. Defined as the “multibillion-dollar global enterprise devoted to the business of making and selling clothes” (Encyclopaedia Britannica 2012) this industry extends further than fashion designers; and includes an intertwined web of agents which work together to turn the gears of this economic giant. The revolutionized contemporary world

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has allowed for growth in the industry, and as such, fashion is no longer centred on North American and European powerhouses. While territories such as China, India, Singapore and Japan have become ‘fashion conscious’ and tapped into the benefits of this lucrative industry, fashion has also had significant strides within the Caribbean region. The article entitled, “Mapping the Trade in the Creative Industries,” stated that while the global arena has recognised the importance of the creative industry, it has had a significant role in the economies of the Caribbean. The fashion industry in particular has been a revenue earner for several nations within the Caribbean region. (Deloumeaux, 2012.) As such, Caribbean countries have recognised its significance as a tool for economic development, and have channelled their resources and employed fashion within key policy geared towards developing Creative Industries. In her study, Daneia Ashpole, Executive Assistant to the Ministry of National Security of Jamaica, illustrated the importance of the fashion industry to the Caribbean. Its growth from US$900 billion in 2008 to over US$1000 billion in 2012 depicts exemplary aptitude to survive the worldwide effects of the economic downturn, and ultimately be a new source of income for affected nations (Ashpole 2012.) Although the creative industry can be identified as being in its embryonic stage, within the Caribbean, the strength of fashion has resonated for more than four (4) decades. With their work reaching the corners of the world, fashion icon such as Oscar de La Renta of the Dominican Republic, designers Heather Jones of Trinidad and Tobago and Jamaican Max Brown have certainly made their mark in the fashion arena. Moreover, examination of the Caribbean fashion industry illustrates that this sector has developed beyond the creation of apparel to meet 15

consumers’ demand. Since its inception, Caribbean Fashion Week (CFW) has been described as the main catalyst for the evolution of the industry within the region. The year 2001 marked the commencement of this venture, which has positively impacted the host country Jamaica, as well as other designers and models within the region. Though it has been on a smaller scale in comparison to its global counterparts, the achievement of CFW and Caribbean fashion as a whole was highlighted in 2005, with British Vogue identifying the event as, “one of the latest trends on the international fashion scene.” (Research Group for Caribbean Regional Negotiating Machinery 2006.) While the evidence shows that this booming industry has impacted the region, the fact remains that extensive work still needs to be done in order for the sector to achieve its full potential as a viable industry. Closer examination of the industry reveals that it faces several challenges at the political, economic and technological levels which continue to plague the industry. Panellists at a workshop for Fashion Production and Design in Trinidad in June 2006 opined that the main reason why fashion has not achieved its full potential lies with the misconception by governments and the private sector that limited economic benefits can be derived from the industry. Economically, potential designers are unwilling to take the risk in establishing businesses within the industry, because they generally experience difficulty in attaining funding in order to do so. At the social level, it is evident that the local market continues to perceive international labels as superior to those of local designers, leading to stores preference for imported products, and the unwillingness to carry local designs in their establishments. Moreover, the infiltration of cheaper apparel from the Chinese market has had a negative impact on the market for Caribbean garment makers, thus limiting the potential of the Caribbean fashion industry. 16

Though it has been said that constant research and development paves the way for the competitiveness of an industry, further investigation demonstrates that innovation in technology plays a significant role in the maintenance of the competitive edge of a country. This limitation in technological advancement and development within the context of low levels of intellectual property protection has continuously handicapped the regional fashion industry.

CARIBBEAN CUISINE As the Caribbean seeks to move from competing on the basis of ‘preferential trade and aid” to a new era based on “Technology, innovation and knowledge” there is need to harness the full potential of Caribbean cuisine. The Caribbean region has a rich culture which is influenced by Europe, Africa, India, China and the Middle East.

Caribbean cuisine combines these rich

influences with indigenous ingredients and traditional cooking methods to create a unique flavour which sets the region apart from any other.

“Today, Caribbean gastronomy is on the

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radar.”

(Maco Magazine, 2006).

With the right level of support from governments and

businesses, Caribbean cuisine can become a leading creative industry for the region. Almost all year round tourists from all over the world visit the Caribbean region for various Food Festivals such as St. Lucia’s Food and Rum Festival in January, St. Croix’s Food and Wine Experience in April, Taste T&T in May and Barbados Rum Festival in October. The Caribbean cuisine has been featured on the Travel Channel and most recently two Trinbagonians won the popular Food Network Television Competition Series ‘Cupcake Wars’ with their unique creation of a “fresh ginger five-spice cupcake with red-bean filling, topped with lychee buttercream frosting and a ginger caramel drizzle.” (Telesford, 2012). Maco Magazine (2006) in their online featured article gives a clear insight into the great potential of Caribbean cuisine: “From small towns in Kentucky to New York City, from Toronto to London and back, our food is being hailed as the new “in” cuisine with chefs screaming for Caribbean ingredients. Not to be left out, our rums are being imbibed worldwide by connoisseurs with as much gusto as good cognac…Creative dishes such as Orange-Glazed Duck Comfit with Papaya and Avocado Salsa a la Balsamic, Seventh Upside Down Mahi Mahi on Pumpkin Risotto with Ginger Fruit Salsa, Langousta “Thermidor” Spiny Lobster Gratin served with Moros y Cristianos (Cuban black beans and rice) proved that rum can replace wine in gourmet cuisine.”

Although Caribbean cuisine has established a high reputation of its own, there are still many barriers which have hindered growth and development of this sector.

Caribbean food

varies from island to island and each island sees its particular cuisine as special in attracting business. A harmonized approach to Caribbean cuisine as a creative industry can bring benefits to the entire region. The formation of a single institution with the necessary resources to promote and develop Caribbean cuisine can help this industry overcome its challenges and rise to its full potential. 18

Caribbean cuisine needs to be commercialized. Most Caribbean food restaurants operate on the basis of providing traditional home cooking in a restaurant setting. While the restaurant owners usually have great cooking skills, they oftentimes tend to lack the necessary business skills to grow their businesses in a profitable manner. As such, most Caribbean restaurants remain small businesses serving the needs of the local communities and hardly ever reaching beyond those borders.

With government investment in training local chefs and restaurant

owners, Caribbean cuisine can transcend local and regional boundaries. A good example would be the Jamaican pattie which has penetrated supermarkets across the globe. The use of geographical indicators to inform consumers of the geographic origin of a product provides a unique opportunity for Caribbean manufacturers and producers to establish and brand their food items. Caribbean cuisine should be given the necessary branding so as to inform buyers of the origin as well as to protect this creative industry.

CONCLUSION The Caribbean region displays a comparative advantage in the area of culture and creative industries. Creative industries present a new model of development which affords the region social, economic and cultural benefits.

Investment in such industries would prove

rewarding as the sector creates indigenous forms of production, employment, exports, revenue and higher levels of social inclusion. From this study it is clear that the creative industries present an ideal opportunity to diversify Caribbean economies. What is also clear is that the 19

Caribbean region is yet to take full advantage of such industries for its own growth and development. In order for increased growth and development of Caribbean Creative Industries several key policy interventions need to be made. Here is a brief list of major policy recommendations based on the analyses of the various sub-sectors presented in this paper. 1) Establish a Regional Creative Industries Council to support the growth and development of the Creative sector within the Caribbean. This Council will ensure the harmonization of trade policies as well as develop a systematic strategy to reposition Caribbean Creative Industries within the global market economy. 2) Re-examine current regional and international trade agreements, international treaties and conventions and devise a regional trade policy which will seek to negotiate the best terms and conditions for Caribbean Creative Industries to grow. For example, there is need for a harmonized tax exemptions regime for cultural industries as well as a stronger commitment for the free movement of cultural workers within the CSME. 3) Governments should strengthen and enforce Intellectual Property legislation as well as increase public awareness campaigns about anti-piracy legislation. 4) Strengthen educational and professional training programmes in the arts, multimedia technology and cultural entrepreneurship to improve the skills capacity of the region. 5) Increased statistical research on the cultural sector in order to give policy makers a clear idea of the capacity and impact of this sector on the region.

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6) Increased availability of bandwidth across the region as well continued liberalization of the telecoms sector so as to improve the digital environment. There is also need for greater access to new technologies as well as increased training for its usage. 7) Foster a cluster approach to cultural industries to achieve ‘economies of scale,’ knowledge sharing and greater access to larger, more sophisticated global markets. 8) Greater advocacy efforts for the cultural sector so as to get governments, the private sector and civil society to see creative industries as a viable economic sector capable of sustaining Caribbean economies. 9) Encourage more public-private partnerships to craft more effective policies, projects and synergies for the growth and development of creative industries. 10) Increased efforts to gain financial investments into the creative sector from both governmental and non-governmental sources. Greater efforts should be made to secure investments from industry associations, trade promotion organizations, financial institutions, and international donor and development agencies. WORKS CITED Ashpole, Daneia. "Caribbean Fashion Industry." Mapping the Creative Industries, Caribbean Creatives, Jul. - Aug. 2012. http://creativeindustriesexchange.com/images/stories/caribbean_creatives_emagazine/20 10/CIEZine%20finalcut.pdf (accessed September 27, 2012). Evans, Graeme. "Creative Cities, Creative Spaces and Urban Policy." Urban Studies Journal 46 (2009): 1003-1040. Flew, Terry . "Beyond ad hocery: Defining Creative Industries." Speech, The Second International Conference on Cultural Policy Research from Creative Industries Faculty, 21

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Nurse, Dr. Keith. "The Caribbean Music Industry: Enhancing Export Capabilities and Industrial Deepening." Report. http://www.acpcultures.eu/_upload/ocr_document/CEDANurse_CaribbeanMusicIndustry_2001.pdf (accessed October 8, 2012). Nurse, Dr. Keith. "The Cultural Industries in CARICOM: Trade and Development Challenges." Report. http://www.slideshare.net/CRNM/crnm-cultural-industries-report-the-cultural-industriesin-caricom-trade-and-development-challenges (accessed September 30, 2012). Nurse, Dr. Keith, Dr. Michele Reis, Jacqueline Morris, and Chanzo Greenidge. "T&T 'Best Bet' Investment Cases." The T&T Foresight Project. http://www.niherst.gov.tt/s-and-t/projects/foresighting/creative-sector-chpt4.pdf (accessed October 8, 2012). Nurse, Dr. Keith, and Alicia Nicholls. "Enhancing Data Collection in the Creative Industries Sector in CARIFORUM." Inter-Agency Presentation at 32nd COTED Meeting. http://cdc-ccd.org/IMG/pdf/Data_Collection_in_the_Creative_Industries_Sector.pdf (accessed September 23, 2012).

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