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According to UNESCOs 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.

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 artists 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).
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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
regions 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
industrys 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 Caribbeans 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
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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

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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)
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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)
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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 Caribbeans sphere of Creative Industries (CIs). The essential perspective of
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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 regions Caribbean-ness and West Indian roots.
Innovation and industrial design has improved Caribbean creative output vis--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
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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 Caribbeans 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 Tobagos 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 Angosturas 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
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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 Caribbeans 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 Caribbeans 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 regions
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.
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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

Chinas 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
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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 policymaking 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.
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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. Lucias Food and Rum Festival in January, St. Croixs 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 cognacCreative 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.
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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.
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