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We expect to pay for them only after we have secured all of the trappings above. By the time we come to book those cultural workers, we come to them with our outta-money faces and look for a break.
Do me a favour. Just this once. Or the biggie: do it for love of country. Love of country?
This country, which does not love me? Understand this. In this, the second decade of the twenty-first century, the century which runs on culture and cultural industries, there are dangerously few cultural workers in The Bahamas who make a living doing what God made them to do.
Oddly enough, even though the population of New Providence has more than doubled over the past forty years, the real number of people who are willing to pay performers to perform has more than halved.
Creative artists, especially those who do not produce anything tangible, who do not create paintings or artwork that people can hang on their walls, those of us whose value lies in our transforming collective moments from mundane to memorable, just do not get hired in The Bahamas.
This shameful fact puts us not only on the wrong side of history—our cultural economy should have grown and expanded along with our tourist arrivals over the past forty years, not the other way round—but it also puts us at a very real global disadvantage, given the fact that the cultural and creative industries fuel the global economy.
We have no working idea what culture actually costs in the real world out there beyond the Bahamian flag. Let me cut to the chase here. It is ours.
It is ours because we do not believe that Bahamian culture is worth paying money for.
And it will remain ours until this is no longer true. His remit was to develop a strategic plan for the development of the cultural industries in The Bahamas—to lay the ground to change our country from one in which culture is consumed for less than it is worth into one in which culture becomes an engine of the economy.
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