Source document: https://docs-lawep.s3.us-east-2.amazonaws.com/1698928691365.pdf (Trinidad and Tobago)
Appendix I Government of the Republic of Trinidad and Tobago Ministry of Community Development, Culture and the Arts National Policy on Culture and the Arts “Celebrating National Identity: Maximising our Diversity” 2019-2024 December 6, 2019 ii Honorable Minister Foreword As Minister with responsibility for Culture and the Arts, I am heartened to have spearheaded the process which provided Trinidad and Tobago with its first National Policy on Culture and the Arts, after several sterling efforts since 1981.
I am happy to be a part of a Government which has placed a high priority on cultural sector development as a critical tool to socio-economic transformation at the individual, community and national levels.

This was demonstrated in the 2016 Cabinet directive to the Ministry of Community Development, Culture and the Arts, to develop such a Policy.
Cognisant of the almost four (4) decades of efforts that preceded this one, I was fully aware of the peculiar historic and ethnic challenges that face culture in Trinidad and Tobago; the varied levels of development of specific sub-sectors and institutions; the diversity, richness and power of the perspectives of cultural entrepreneurs and activists; and the local, regional and global opportunities available to Trinidad and Tobago’s culture.
Accordingly, I felt with paramount urgency that the Policy had to address the issue of strengthening our national identity and cultural confidence in a sensitive and substantial way.
It was also important at this time, that a concerted effort was made to attend to the issues foremost in the minds of the older generations, that of historical cultural affirmation, while satisfying the desire of younger generations to leverage the cultural sector as a mechanism for creative expression, economic prosperity and the sustainable livelihoods of cultural practitioners.
Moreover, the NPCA is concerned with fully optimising and maximising the energy and intrinsic value of our culture and the arts to enhance the quality of life for all citizens and visitors.

At the same time, it seeks to place the artist at the centre of cultural development, services and growth; stimulate cultural innovativeness and leverage all of our cultural products for economic potential and global penetration; and recognise and reward excellence.
Already, the Ministry of Community Development, Culture and the Arts has been engaged in efforts including; opportunities for our artisans to market their craft, enhancing the cultural experiences of our citizens and professional development of artists through its ‘Brown Bag Series’ and the ‘Live i Music Districts’ initiated by the Ministry of Trade and Industry.

The NPCA is a commitment to continue supporting these and other initiatives across the country.
Mindful of the dynamics of the prevailing economic climate and the pressing need to hasten diversification efforts, while considering the unrivalled power of culture and the arts to inspire civic mindedness, social cohesion, tolerance and national pride among the citizenry, the NPCA is undoubtedly an essential measure and relevant platform for national development in Trinidad and Tobago.
ii List of Abbreviations CARICOM Caribbean Community CARIFESTA Caribbean Festival of the Arts CCAF CCI Culture and Creative Arts Fund Cultural and Creative Industries COHSOD Council for Human and Social Development COTT Copyright Music Organisation of Trinidad and Tobago CSME Caribbean Single Market and Economy CreativeTT Trinidad and Tobago Creative Industries Company Limited DTCT ECCL Division of Tourism, Culture and Transportation, Tobago House of Assembly Export Centres Company Limited exportTT National Export Facilitation Organisation of Trinidad and Tobago FashionTT Trinidad and Tobago Fashion Company FETT Fashion Entrepreneurs of Trinidad and Tobago FilmTT Trinidad and Tobago Film Company GDP Gross Domestic Product GoRTT Government of the Republic of Trinidad and Tobago IDB IFCD Inter-American Development Bank International Fund for Cultural Diversity MCDCA Ministry of Community Development, Culture and the Arts MFCA Ministry of Foreign and CARICOM Affairs MoE MTI Ministry of Education Ministry of Trade and Industry MusicTT Trinidad and Tobago Music Company NEFTT National Export Facilitation Organization of Trinidad and Tobago NALIS National Library and Information System Authority NCC National Carnival Commission iii NMAG National Museum and Art Gallery of Trinidad and Tobago NPCA National Policy on Culture and the Arts NTTT RCC RTC National Trust of Trinidad and Tobago Regional Cultural Committee Revised Treaty of Chaguaramas TFATT The Fashion Association of Trinidad and Tobago TFCA The Technical Forum
 on Culture and the Arts THA Tobago House of Assembly TTCO Trinidad and Tobago Copyright Collection Organisation TTFF Trinidad and Tobago Film Festival UNCTAD United Nations Conference on Trade and Development UNDP United Nations Development Programme UNESCO United Nations Educational, Scientific and Cultural Organisation WIPO World Intellectual Property Organisation iv Table of Contents Honorable Minister Foreword ........................................................................................................................... i List of Abbreviations......................................................................................................................................... iii Executive Summary ......................................................................................................................................... viii Chapter One: Introduction ................................................................................................................................. 1 1.0 Introduction .................................................................................................................................................. 1 1.1 Situational Analysis of the Cultural Sector .................................................................................................... 3 1.1.1 Global Context ...........................................................................................................................
3 1.1.2 Regional Context ....................................................................................................................... 4 1.1.3 Local Context ............................................................................................................................. 6 Chapter Two: Policy Scope ............................................................................................................................... 11 2.0 Policy Scope................................................................................................................................................ 11 2.1 Policy Statement ......................................................................................................................................... 11 2.2 Guiding Principles ....................................................................................................................................... 12 2.3 Vision ........................................................................................................................................................... 13 2.4 Goals and Objectives ................................................................................................................................... 13 2.4.2 Theme 1: National identity and cultural confidence ............................................................... 13 2.4.3 Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.
.................................................................................................................................... 14 2.5 Benefits and proposed outcomes of the culture policy .............................................................................. 15 2.5.2 Benefits to artists and cultural entrepreneurs ........................................................................ 15 2.5.3 Benefits to organisations involved in the culture and arts sector .......................................... 15 2.5.4 Benefits to the nation: ............................................................................................................. 16 Chapter Three: Policy Framework .................................................................................................................... 17 3.0 Policy Framework ........................................................................................................................................ 17 3.1 Definitions of the Sub-Sector Areas ............................................................................................................ 18 3.1.1 The Culturally Confident Citizen .............................................................................................. 18 3.1.2 The Arts ................................................................................................................................... 18 3.1.3 Heritage, Memory and Legacy ................................................................................................. 18 3.1.4 Cultural Industries ...................................................................................................................... 19 3.2 The Culturally Confident Citizen................................................................................................................. 19 3.2.2 Where are we?
........................................................................................................................ 20 3.2.3 Where do we want to go?

......................................................................................................... 21 v 3.2.4 How do we get there?
............................................................................................................... 21 3.2.5 Specific Strategies for Building Cultural Confidence.................................................................. 22 3.3 The Arts ...................................................................................................................................................... 24 3.3.1 Where are we?
........................................................................................................................ 24 3.3.2 Where do we want to go?

....................................................................................................... 25 3.3.3 How will we get there?
........................................................................................................... 25 3.4 Heritage, Memory and Legacy ................................................................................................................... 29 3.4.2 Where are we?

........................................................................................................................ 30 3.4.3 Where do we want to go?
....................................................................................................... 30 3.4.4 How do we get there?
............................................................................................................. 31 3.5 Cultural Industries ....................................................................................................................................... 34 3.5.2 Where are we?...........................................................................................................................

34 3.5.3 Where do we want to go?


....................................................................................................... 36 3.5.4 How do we get there?
............................................................................................................... 36 Chapter Four: Implementation Plan ................................................................................................................ 40 4.0 Implementation Plan for the National Policy on Culture and the Arts (NPCA).......................................... 40 4.1 Implementation principles and objectives ................................................................................................. 40 4.2 Institutional Arrangements ......................................................................................................................... 41 4.2.2 The Technical Forum on Culture and the Arts (TFCA) .............................................................. 41 4.3 Monitoring and Evaluation ......................................................................................................................... 42 4.4 Policy Review.............................................................................................................................................. 42 Chapter Five: Conclusion .................................................................................................................................. 43 5.0 Conclusion ................................................................................................................................................... 43 Glossary
43 Glossary ............................................................................................................................................................ 44 Culturally Confident Citizen ................................................................................................................ 45 Culture ................................................................................................................................................ 46 Cultural Sector .................................................................................................................................... 46 Annex I ............................................................................................................................................................. 47 ALIGNMENT OF GOALS, OBJECTIVES, STRATEGIES AND RESPONSIBILITIES .................................................... 47 Annex II ............................................................................................................................................................ 70 Institutional Arrangements for the Implementation of the National Policy on Culture & the Arts ................ 70 Annex III ........................................................................................................................................................... 74 International and Regional Policy Frameworks, Treaties and Conventions .................................................... 74 vi Annex IV
74 vi Annex IV ........................................................................................................................................................... 75 Model for Decision Making and Allocation of Resources ................................................................................ 75 Annex V ............................................................................................................................................................ 78 Acknowledgements .......................................................................................................................................... 78 vii Executive Summary The National Policy on Culture and Arts (NPCA) has crystallized out of conversations surrounding several significant pieces of work undertaken over the past four (4) decades by culture experts and the citizens of this nation.
It is regarded as a companion document to the National Development Strategy (NDS) 2016-2030 (Vision 2030), which views the arts, culture, creative sectors and their related social and economic activities at the centre of national development.
This policy is directly aligned to four of the five thematic areas outlined in the NDS, namely, Putting People First: Nurturing our Greatest Asset, Delivering Good Governance and Service Excellence, Building Globally Competitive Business and Placing the Environment at the Centre of Social and Economic Development.
The NPCA stands on the fundamental belief that the country’s reservoir of creativity and cultural expressions is as vital to national development and prosperity as its energy, financial and manufacturing sectors.

Therefore the same level of attention and enabling infrastructure is needed to realise the overall growth and profitability of the cultural sector as a matter of urgency.
The NPCA provides the opportunity and a framework for the cultural sector to find its fullest expression, whilst providing an umbrella for the fashioning of a truly Trinbagonian identity.
The NPCA articulates an emboldened vision of “A thriving, inclusive and dynamic cultural sector at the centre of national development.” With this foresight, this cultural policy seeks to reframe the experiences and roles of all stakeholders, especially artists and cultural entrepreneurs, to engender a healthy cultural ecosystem.

The role of the government is viewed increasingly as flexible and strategic, with the state facilitating, leading or nurturing as the time and situation demand.
Artists, cultural practitioners and entrepreneurs are viewed as co-collaborators in creating a dynamic and thriving culture sector.

Underpinned by the guiding principles of participation, sustainability, diversity, accountability, and nurturing, the NPCA endeavours to: a.

Enhance cultural confidence by enriching the participation of all in cultural development that transforms the social and economic experiences of the nation.

viii b.
viii b.

Strengthen national identity, identities and the sense of belonging among all social groups.

c. Secure and strengthen infrastructure for cultural diversity, preservation, participation, exchange and expression.

d. Support artists, entrepreneurs and industry associations in the production of high quality output.

e. Establish and sustain an integrated institutional framework to support the cultural sector.
These goals are pursued in the context of the many strengths and challenges of the Trinbago society.

While Trinidad and Tobago stands ready as an emerging economy with a distinct cultural identity, rich marketable heritage and immense natural and cultural resources, it is confronted by a number of surmountable challenges.
Prominent among these challenges are: the failure of the independence project to advance the process of liberation and self-discovery1; the gradual undermining of the citizens’ sense of loyalty to indigenous cultural products; lack of policy coherence and general coordination among key stakeholders in the cultural sector; declining government revenues due to the global fall in oil and natural gas prices and increasing levels of dependency on state sponsorship for certain festivals with uncertain returns on investment.
In spite of the many challenges there are excellent opportunities which must be grasped.

Among the key opportunities are the potential to stimulate the culture and arts sector as a means of economic diversification; to develop an economically viable culture and heritage destination; and to create a highly professional and dynamic arts sector which reaches diverse audiences across the length and breadth of this nation and the globe.
The NPCA is centered on two (2) developmental themes, namely: a) national identity and cultural confidence and b) a harmonised and strengthened cultural environment.

The national identity and cultural confidence theme is concerned with benefits to the national community derived from a strengthened sense of individual and community belonging and empowerment nurtured 1Ken Ramchand.

Art and Cultural Confidence.

CARIFESTA V. The New Aesthetic and Meaning of Culture in the Caribbean.
“The Dream Coming in with the rain” Proceedings of the Carifesta V Symposia.

(1992).

ix in the arts and culture sectors; whereas the harmonised and strengthened cultural environment theme recognises the value of a strong yet integrated cultural ecology, better positioned to facilitate and respond proactively to the needs and aspirations of cultural practitioners in a modernised, digitised and globalised environment.
The NPCA has further identified four (4) sub-sectors for priority action, growth and development.

These are: a.

The Culturally Confident Citizen b.

The Arts c. Heritage, Memory and Legacy, and d. Cultural Industries.
The Culturally Confident Citizen refers to citizens having a place and voice in the public sphere (the nation) and claiming an equal share of rights and recognition in relation to other citizens; The Arts refers to the expressive area of our culture that is key to the social and economic well- being and vitality of the nation and its peoples; Heritage, Memory and Legacy pertains to what is valued and the meanings attached, which is at the same time our link to the past and the platform for creating our future; and Cultural Industries refers to the capacity associated with our various cultural assets, to create economic opportunities for artists and the nation both within and beyond our national boundaries.
This cultural policy will, in its implementation, begin a new era in culture policy making, involving ongoing collaboration by engaging in deliberate strategies to strengthen and deepen the cultural confidence and sense of national identity of citizens.

To ensure that takes effect, an institutional mechanism in the Technical Forum on Culture and the Arts (TFCA) will be established, which will aid in the oversight and coordination of the NPCA implementation.
x Ultimately, the NPCA is anticipated to result in greater coordination of the cultural sector; greater contribution of the sector to economic growth; superior quality of expression through a highly professional arts sector; greater promotion of and accessibility to our diverse cultural expressions; cultural preservation; and greater citizen empowerment.

In so doing, this policy will hasten efforts toward the achievement of the National Development Strategy (NDS) (Vision 2030).
xi Chapter One: Introduction “Trinidad is my land, and of it I am proud and glad….
Now, our steelband is the best talent in this world By calypsoes our stories are told With its rhythm to touch your soul; So, Trinidad, this lovely land of my birth Small, but overwhelming in worth And as you know Carnival is the greatest frolic on Earth” 2 The Mighty Sniper (1965) 1.0 Introduction 1.0.1 Trinidad and Tobago, a twin island state and cultural gem in the Caribbean, is home to 1.4 million people of different ethnicities, religious persuasions and classes.
This variety, produced by centuries of the convergence of many peoples on our hospitable shores, has resulted in a dynamic and sought-after multi-cultural blend.

As such, though small in size and young in our stage of development, Trinidad and Tobago is poised to provide a regional illustration of how to fashion a truly confident, inclusive, empowering and economically viable cultural sector.
1.0.2 The mecca of Carnival, the birth place of Calypso, Chutney Soca and the Steelpan - these represent but a few of the cultural products spawned by our history and diversity.

However, it is our capacity for peaceful and harmonious co-existence, despite our differences that is impressive and inspirational, making Trinidad and Tobago a global leader and a living example of how peaceful relations could be maintained in diverse societies.

1.0.3 Our culture is the way of life of our people.
It is the accumulated influence of the distinctive spiritual, material, intellectual and emotional features of the Trinbagonian society, including 2 Song: Portrait of Trinidad; Composer/Author: The Mighty Sniper (1965), also known as Mr. Mervyn Hodge; Publisher Ice Music Ltd. 1 lifestyles, ways of living together, value systems, traditions and beliefs, as well as our art and creative expressions.
1.0.4 We eclipse many in the spheres of sport and creativity; and are home to some of the most acclaimed cultural, sporting and academic geniuses to grace the world stage.
Trinidad and Tobago is the place that nurtured the Calypso King of the World, the Mighty Sparrow; the birth place of the Calypso Queen of the World, Calypso Rose, the 2018 Victoires de la Musique award winner; the inventor of Soca, Ras Shorty I; the legendary star of chutney, Sundar Popo; world renowned novelists such as Nobel Laureate Sir Vidiadhar Surajprasad Naipaul and Dr. Earl Lovelace; artists extraordinaire, Chief LeRoy Clarke and Mr. Carlisle Chan; sporting heroes such as the world record-holder in cricket, Brian Charles Lara, Olympic Gold medallists, Hasely Crawford and Keshorn Walcott; steel pan geniuses such as Jit Sukha Samaroo, Len 'Boogsie' Sharpe and the late Ken "Professor" Philmore; Ms. Universe 1977, Mrs. Janelle “Penny” Commissiong, Ms. Universe 1998, Ms. Wendy Fitzwilliams, and Ms. World 1986, Mrs. Giselle Laronde; to name a few.
1.0.5 The NPCA is indeed a celebration of who we are and our many accomplishments in the realm of culture, and the recognition of the limitless potential of our creative wealth.

It builds on the various policy initiatives of successive governments and the invaluable work of cultural entrepreneurs and organisations to Trinidad and Tobago’s vast cultural ecology.
Accordingly, it recognizes the role of the state, academia, the private and NGO sectors in creating a supporting and regulatory framework for the growth and development of culture and the arts in Trinidad and Tobago 1.0.6 The NPCA, as the first written national culture policy of T&T, will as a matter of urgency pursue deliberate strategies to continue to strengthen and deepen the cultural confidence and sense of national identity of citizens.
It will also seek to (a) enhance the enabling environment for nurturing and developing our arts, our artists and cultural entrepreneurs; (b) preserve and celebrate our heritage memory and legacy; and (c) leverage the synergies from our rich history in culture and the arts and our diverse range of institutions both public and private; to create an even more dynamic, visionary, responsive and effective cultural sector.
2 1.0.7 The NPCA therefore provides a vision and structure for the period 2019-2024, for moving the culture sector forward as solid driver of national development and economic growth.

1.0.8 This national policy, which of necessity transcends Government Ministries and agencies takes on a whole of Government approach and sets out in broad terms what the Government of the Republic of Trinidad and Tobago will do as a collective and as an enabler of growth in this critical sector.
1.1 Situational Analysis of the Cultural Sector 1.1.1 Global Context 1.1.1.1 The cultural sector is regarded as the range of actors, institutions, cultural products and activities that make up the cultural landscape in a given society.

These actors, institutions, cultural products and activities emerged from, represent and enable our arts and festivals and showcase and preserve our heritage, memory and legacy.
There has been growing recognition for the cultural sector as a meaningful contributor to economic development across the globe.

1.1.1.2 This view is well supported by the recent upsurge in research studies related to the creative and cultural industries/economy of which the cultural sector is a subset.

The creative economy was considered to be one of the most rapidly growing sectors of the world economy.
It is credited for being highly transformative in terms of income-generation, job creation and export earnings.

As an example, Cultural and Creative Industry (CCI) revenues worldwide exceeded those of telecom services (US$1,570b) globally3.

In terms of employment, the CCIs employ 1% of the world’s active population, many of which include women and youth; with the top three employers reported as being visual arts, books and 3 Cultural times.

The first global map of cultural and creative industries.
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8 3 music4.

A clear distinction between creative and cultural industries is provided in the Glossary of Terms.

1.1.1.3 World leaders have recognised the importance of the role of culture in both shaping the social character and stimulating the economic growth of nations.

This has resulted in several actions across the globe which are indicative of leaders’ intention to use culture as a means to pursue human development.
Chief among these actions is the formulation, acceptance and ratification of culture treaties and conventions which serve as guidelines for treating with culture globally.

To date, several such instruments have been formulated and ratified; including by Trinidad and Tobago.

Some are provided below, with a fuller list at Annex I: a.

Convention Concerning the Protection of the World Cultural and Natural Heritage (1972) ratified in 2005 b.
World Intellectual Property Organisation (WIPO) Copyright Treaty (1996) acceded to 2008 c. Convention on the Protection of the Underwater Cultural Heritage (2001) ratified in 2010 d. Convention for the Safeguarding of the Intangible Cultural Heritage (2003) ratified in 2010 e. Convention on the Protection and Promotion and Diversity of Cultural Expressions (2005) ratified in 2010 1.1.1.4 To facilitate a thriving, inclusive and dynamic cultural sector, the NPCA proposes to engage in strategies to enhance cultural confidence, harmonise the cultural sector and build a robust cultural environment for the maximum development of our cultural practitioners; and preserve, promote and optimise our arts, heritage assets and cultural products.
1.1.2 Regional Context 1.1.2.1 Caribbean leaders have long recognised the importance of creating an enabling environment for cultural development regionally.

In this regard, there have been several actions 4 Cultural times.

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8 4 undertaken on different levels through regional policy and cultural initiatives to facilitate the sector’s development.
These actions are manifested in the formulation and adherence to regional guidelines, the establishment of cultural institutions and platforms to support the display, exchange, preservation and transmission of the Caribbean cultural heritage.

Some of these institutions are: a. the Caribbean Inter- Cultural Music Institute b. the Forum of Ministers of Culture and Cultural Officials of Latin America, and the Caribbean and c. the Regional Cultural Committee (RCC).
1.1.2.2 One of the most significant cultural policy measures in the Caribbean landscape has been the Revised Treaty of Chaguaramas (RTC).

The RTC is a governing instrument formulated to establish the Caribbean Community and the Caribbean Single Market and Economy (CSME).
A key feature of the CSME is the allowance it makes for the free movement of the goods and services of cultural workers, although the extent to which cultural workers from CARICOM states take advantage of this opportunity has not been assessed.

1.1.2.3 As with the global community, the CARICOM Heads of Government recognised and affirmed the significance of the job creation and growth potential of the cultural and creative industries.
CARICOM also sees these industries as keys to regional integration, the CSME, cultural identity, diversity and youth engagement.

A Regional Strategic Plan for Cultural and Entertainment Services was commissioned in 2015, which sets out ten (10) priority actions, five (5) of which Trinidad and Tobago has addressed in full or in part.

These five (5) priority actions are: a.

Development of national cultural policies to guide the development of the creative sector b.
Ratification of international treaties and conventions on culture and intellectual property and extension of the period of intellectual property protection from 50-70 years after the death of the rights holder(s) 5 c. Establishment of dedicated institutional support at the national and regional levels to implement the Regional Strategy and provide targeted support to the sector d. Strengthening educational programmes in the arts and support services; and pilot a Performing of Arts High School in each member state, and e. Creation of national and regional registries of artists and cultural workers as integrated and searchable databases in real time.
1.1.2.4 Caribbean leaders also continue to support and host the Caribbean Festival of the Arts (CARIFESTA) first held in 1972.

This festival, hosted on a periodic basis, has been used as a platform to share and preserve various aspects of the Caribbean culture.

Although over the years there have been different viewpoints about the value and format of CARIFESTA, its contribution to depicting the life of the people of the region, and fostering a regional community cannot be denied.
CARIFESTA was held in Trinidad and Tobago in 1992, 2006 and 2019 as part of the enduring strategy towards building stronger national and regional creative industries.

1.1.3 Local Context 1.1.3.1 As previously indicated, the cultural sector in Trinidad and Tobago evolved out of its historical, social and economic experiences.
These experiences brought many groups of different ethnic, religious and cultural persuasions; all of which have blended to create a variety of cultural experiences and products that contribute to an authentic Trinbago culture.

1.1.3.2 Following this country’s achievement of independent nation status in 1962, our leaders were confronted with the challenge of forming and developing a nation from groups of people who were primarily socialised to serve the economic interests of their colonisers.
The newly independent nation had to promote measures of equality in a cosmopolitan environment underpinned by social and economic inequity.

Remnants of the prevailing belief systems, policy measures, and institutional practices that sprung from this thrust still influence our society today.

The unequal distribution of wealth, entrenched class structures and the 6 continuous devaluing and undermining of our cultural self can, to a significant degree, be credited to our historical experiences.
1.1.3.3 Moreover as a nation, we are yet to devise and implement sustained mechanisms to engender a strong national identity and enhance cultural confidence such as: a strong indigenous account of this country’s history; the dismantling of unproductive colonial legacies and the collective commemoration of shared local experiences.

These are important tools for solidarity and growth as a nation.
Additionally, the opportunity to fully engage and use the education system as a conduit for shaping our national identity, engendering pride and appreciation for our indigenous cultural products from early childhood to tertiary education has to be realised.
1.1.3.4 However, amidst our historic struggles against oppressive systems, we have demonstrated resilience and ingenuity, creating a cultural sector and products reflective of our experiences - a rich tapestry which has endeared many visitors to our shores.

1.1.4 The Cultural Sector 1.1.4.1 The cultural sector in Trinidad and Tobago comprises all the actors, the institutions and the suite of cultural products that are infused with and represent the values we hold dear.
Though vast and dynamic, the cultural sector is gifted with a number strengths, plagued by several weaknesses, resourced with tremendous opportunities and threatened by a number of environmental factors.

Further details of the strengths, weaknesses, opportunities and threats of the cultural sector in Trinidad and Tobago are outlined hereunder: 1.1.4.2 The major strengths of the cultural sector are as follows: a.
It is guided by a number of international and regional policy instruments which are ratified by the Government and support the development and preservation of culture b.
It is framed by a unique and diverse cultural heritage c. It boasts of a distinctive suite of cultural products, among them the only percussive musical instrument to be invented in the 21st Century 7 d. It hosts the largest Carnival in the Caribbean which (a) attracts people from around the world (b) is the nation’s largest revenue earner as a festival and (c) has spawned dozens of carnivals around the world e. It is supported by a cadre of highly creative and culturally resilient people f. It has produced many legends of global renown in a number of artistic fields g. It possess a wide range of cultural infrastructure including a number of state of the art performance spaces, and h. It is supported by committed state and corporate resources.
1.1.4.3 Some of the key weaknesses that plagued the cultural sector include: a.

The lack of consensus among diverse groups of stakeholders on the fundamental philosophies, ideals, symbols, and forms of cultural expressions that constitute the cultural identity of Trinidad and Tobago b.
The lack of value and appreciation for indigenous cultural products c. The quality and design of some products do not meet the local market and export standards d. Prices of craft products and services restrict market penetration e. The deficiency in the sales platforms for creatives in the craft sector f. Insufficient understanding of the role of culture in national development g. The lack of regulation of service providers, the absence of quality standards in relation to cultural products and the absence of standards and guidelines to fairly compensate cultural practitioners h. Insufficient purpose-built facilities for specific artistic disciplines e.g.
dance, carnival arts i.

The lack of easily accessible and up-to-date statistics on the cultural sector due to insufficient continuous data gathering systems in the area of culture.

j.
Lack of coordination among various actors and institutions in the cultural sector k. The poor marketing and commercialization effort in relation to culture and cultural products both locally and abroad l. The continuous intertwining of culture and politics which has challenged our ability to develop a formal cultural policy 8 m. Insufficient agencies to manage cultural practitioners to enable the creation of their best products and facilitate global reach n. Poor implementation of systems to manage intellectual property and treat with copyrights issues in particular, and o.
The undervaluing of the cultural sector as a serious revenue earner.

1.1.4.4 Major opportunities include: a.

The potential to use the cultural sector as an avenue to strengthen our national identity, foster social cohesion and inculcate and reinforce the values, attitudes and behaviours consistent with high levels of development b.
The potential to use the cultural sector as a means to diversify the economy c. The potential to use the digital media as a means to promote culture d. The potential to use the cultural sector and art forms as major employers to provide sustainable careers for practitioners and employment of diverse citizens including vulnerable groups, e. The prospect for greater emphasis to be placed on cultural entrepreneurship even at the earliest stages of our education system f. The opportunity for strategic investments to address the weaknesses in the craft sector and to maximise its potential as a critical component of sustainable livelihoods and economic diversification g. The potential for the formal education system to provide greater training opportunities in culture and cultural appreciation as distinct from arts education, so as to deepen its ability to engender cultural confidence and national pride, and h. The prospect of using the cultural sector as a means to address the historical injustices committed against different groups in this country and to promote social justice.
1.1.4.5 Some of the imminent threats to the culture sector are: a.

The absence of a coherent national policy to guide the culture and arts sector b.

The bombardment of foreign culture through the various media streams and its subsequent impact on our already frail cultural confidence, and 9 c. The unpredictability of the energy sector and the possible reduced availability of national resources to fund cultural initiatives.
1.1.4.6 In attempting to maximise the strengths, minimise the weaknesses, capitalise on the opportunities and significantly reduce the threats that plague the cultural sector, there are key issues the NPCA has to address in light of the situations described above: These include: a.

The challenge of engendering a national identity in a highly heterogeneous society b.
The use of culture as a transformational tool in human and national development c. The challenge of harmonising the cultural sector for its development in an environment characterised by culture siloes, competition and the absence of trust, and d. The issue of resource scarcity.

10 Chapter Two: Policy Scope “God bless our nation Of many varied races May we possess that common love That binds and makes us One.
Let it be known around the World That we can boast of Unity And take a pride in Our Liberty” Marjorie Padmore (1982)5 2.0 Policy Scope 2.0.1 The scope of the NPCA is as broad, diverse and dynamic as is the cultural sector in Trinidad and Tobago and it is of necessity this way given the decades of absence of a culture policy in this Republic.
The NPCA pursues the growth and development of our cultural sector in a holistic manner, to maximize benefits to and synergies among the artists and artistes, other cultural workers, cultural and art institutions, agencies and NGOs, cultural investors, communities, the economy and by extension every citizen of this great nation.
It addresses the ways of being – the pivotal issue of cultural confidence and its underpinnings in our cultural diversity, identities and national identity, values and sense of national pride.

It pursues optimization, transformation and growth in the arts, our heritage, memory and legacy and our cultural industries.
To these ends the NPCA seeks to ensure that all the supporting and regulatory apparatus of the state are effective and harmonized and appropriately informed by our regional and international commitments.

2.1 Policy Statement 2.1.1 The NPCA addresses two major (2) developmental themes or priorities.

These are firstly the issue of national identity and cultural confidence and secondly a harmonised and strengthened cultural environment.
The national identity and cultural confidence theme is 5 Marjorie Padmore.

God Bless Our Nation.

(1982) 11 concerned with benefits to each citizen and to national development to be derived from a strengthened sense of individual and collective belongingness to Trinidad and Tobago and empowerment for any local and global environment, which can be nurtured through deliberate strategies employing the education, arts and culture sectors.
2.1.2 The harmonised and strengthened cultural environment theme pursues a strengthened and integrated cultural ecology, including the culture and the art sub-sectors outlined in Section 3.0 and the institutional arrangement proposed at Section 4.0.
This is to ensure that the vast culture sector would be better positioned to facilitate and respond proactively to the needs and aspirations of our artists and cultural practitioners; to preserve and celebrate our heritage memory and legacy and to maximise our cultural industries.
2.2 Guiding Principles 2.2.1 Participation 2.2.1.1 Development of the cultural sector and related economic activities to increase avenues for cultural output and to motivate participation of all peoples as creators, owners and patrons of valued goods, services and experiences.
2.2.2 Sustainability 2.2.2.1 Preservation and protection of cultural and natural heritage and traditional knowledge, creation of opportunities for sustainable livelihoods in the creative economy including exploration and development of new markets for cultural goods and services.
2.2.3 Diversity 2.2.3.1 Recognition that our diversity of cultural forms and expressions is a national asset; respect for each individual’s right to participate in cultural expressions of their choosing, and ensuring that support, resources and services are made available equitably and transparently.
12 2.2.4 Accountability 2.2.4.1 Facilitation of best practices and promotion of good governance in decision-making and expenditure in the arts and cultural sectors to locate culture at the heart of national development.

2.2.5 Nurturing 2.2.5.1 Cherishing our cultural capital and practitioners as pivotal to our national development and identity.

2.3 Vision 2.3.1 A thriving, inclusive and dynamic cultural sector at the centre of national development.
2.4 Goals and Objectives 2.4.1 The goals of this cultural policy are located in the belief that our ways of life and cultural expressions represent some of our major strengths and are important sources of creativity and innovation that can be converted into the type of dynamic national development which this historical moment demands.
The overall goals and objectives which are projected to the year 2024 are located in the context of the two (2) developmental themes of the NPCA as follows: 2.4.2 Theme 1: National identity and cultural confidence Goal 1 Enhance cultural confidence by enriching the participation of all in cultural development that transforms the social and economic experiences of the nation.

Objectives a.
Objectives a.

To facilitate and integrate pathways for the understanding, celebrating and valuing of our highest selves through formal and informal education.

b.

To utilise culture and the arts as a tool for promoting values, attitudes and behaviours (VABs) that are associated with higher levels of national development.

13 c. To determine, recognise, preserve and promote the intrinsic and material value of artistic expressions, traditional knowledge and skills and cultural products.
Goal 2 Strengthen national identity, identities and the sense of belonging among all social groups.

Objectives a.

To ensure equitable access to opportunities in the allocation of resources to all.

b.

To engender respect and recognition for the cultural practices and attributes of all societal groups.

c. To use culture and our art forms as a means to promote social justice.

2.4.3 Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.
Goal 1 Secure and strengthen infrastructure for cultural diversity, preservation, participation, exchange and expression.

Objective a.

To strengthen and facilitate the development of platforms for cultural exchange, intercultural and inter-religious dialogue and heritage transmission.

Goal 2 Support artists, entrepreneurs and industry associations in the production of high quality output.

Objectives a.
Objectives a.

To facilitate integrated platforms for nurturing excellence among developing artists and propel them toward thriving careers in the arts.

b.

To improve institutional arrangements for identifying and exploring business opportunities for marketing and exporting competitive cultural goods and services.

14 c. To encourage local and regional industry associations and networks to ensure that current information and cutting edge technologies are used in the production of high quality outputs.
Goal 3 Establish and sustain an integrated institutional framework to support the cultural sector.

Objectives a.

To facilitate the enactment and review of legislation that will support an enabling environment for the growth and development of our cultural practitioners in the local, regional and international arena.

b.
b.

To encourage the articulation of policies, co-ordination of programmes and the establishment and functioning of institutional arrangements that provide effective support for the work of artists, entrepreneurs and industry organisations.

c. To enhance sector leadership in decision-making and management of cultural resources.
2.5 Benefits and proposed outcomes of the culture policy 2.5.1 The NPCA will yield benefits to artists and cultural entrepreneurs; cultural organisations; and the nation as a whole.
2.5.2 Benefits to artists and cultural entrepreneurs 2.5.2.1 Artists and cultural entrepreneurs will benefit from greater ease of doing business with cultural organisations and services; increased opportunities for sustainable livelihoods; and increased audiences and opportunities for cultural expression and growth and superior quality of expression through a highly professional arts sector.
2.5.3 Benefits to organisations involved in the culture and arts sector 2.5.3.1 Public sector and civil society organisations that serve the cultural ecology will derive benefits including greater knowledge, coordination and harmonisation of the cultural sector; increased opportunities for synergies, collaborative projects and hubs; increased efficiency and impact of services delivered.
15 2.5.4 Benefits to the nation: 2.5.4.1 The nation will benefit from a greater depth of harmony across ethnic groups; increased diversity and quality of cultural products; improved social, economic and governance outcomes associated with increased cultural confidence; greater contribution of the cultural sector to economic growth; greater promotion of and accessibility to our diverse cultural expressions; greater citizen empowerment; and greater international recognition of our cultural contributions.
16 Chapter Three: Policy Framework “De bredren dey full ah energy Some people say God is ah Trini Paradise and all convincing me God gave us a spirit firey But nothing in de world doh bother we… “(Sweet sweet T and T) Lord how I love up meh country (Sweet sweet T and T) No place in this world I'd rather be (Sweet sweet T and T) Oh how I love up meh country (Sweet sweet T and T) All dis sugar can't be good for me.” Michael David Rudder and Carl Jacobs (2003)6 3.0 Policy Framework 3.0.1 The NPCA sets out specific actions that the Government of the Republic of Trinidad and Tobago will pursue as an enabler of cultural development through the mandates, responsibilities and synergies across all of its relevant Ministries and agencies7.
The NPCA will focus attention on the cultural sector through four (4) sub-sectors namely: the Culturally Confident Citizen; the Arts; Heritage, Legacy, and Memory; and Cultural Industries.

This section of the policy presents the importance of and a brief scan of the current environment affecting each theme – Where are we?
It then looks at a vision for the thematic area Where do we want to be; a broad statement about How we will get there; Cross-cutting objectives and Specific strategies to take us closer to the vision.

The analysis of these sub-sectors incorporates, inter alia, feedback from the six (6) public conversations with arts and culture individual and organisational stakeholders across Trinidad and Tobago over the period July 6 Song: Trini to the Bone.
(2003); Composer/author: Ian Wiltshire 7 It is important to note that the NPCA uses the language of the collective ‘we’ as the people of Trinidad and Tobago in general and the cultural sector in particular.

In the context of actions to be taken the ‘we’ does not refer to any one Ministry but to the Government of the Republic of Trinidad and Tobago bringing all its relevant entities and resources to the table.
17 to September 2018 as well as additional dialogue with individual contributors to the culture and arts sector undertaken in January and February 2019.

3.1 Definitions of the Sub-Sector Areas 3.1.1 The Culturally Confident Citizen 3.1.1.2 The culturally confident citizen fully embraces his/her place and voice in the public sphere (the nation) and claims an equal share of rights and recognition in relation to other citizens.
A culturally confident citizen has a sense of self-assurance arising from being grounded in, understanding and valuing his/her own culture; is able to engage with persons of other cultural groups as equals; and is unafraid to show up and assert his/herself in the global space.

3.1.2 The Arts 3.1.2.1 The arts include music, media, film, literary, visual, festival and other performing arts.

They are the key to the social and economic well-being and vitality of the nation and its peoples.
In the Trinidad and Tobago context, some examples of the arts include indigenous music styles such as calypso, soca, tambrin, chutney, rapso, ragga, extempo, parang and several fusion styles such as parangsoca, jamoo and chutney soca.
Further, they include uniquely Trinbagonian forms such as mas costume design and costume making; performing arts and dance which reflect many cultural influences – Indian and European classical styles, African, Indian and middle eastern retentions, folk, modern, jazz, gospel and popular culture.

3.1.3 Heritage, Memory and Legacy 3.1.3.1 Heritage pertains to what is valued and the meanings attached to that which is valued.
Heritage can be broadly classified into two (2) categories: natural heritage and cultural heritage.

The former refers to flora and fauna, geology, landscape and landforms and other natural resources, whereas the latter incorporates the legacy of physical artefacts, tangible and intangible elements of a group or society and fabricated or built heritage.

Heritage is an asset and a social good.


It makes for a sense of rootedness, contributes to social 18 development and the location of the Trinbagonian identity within our culturally diverse population.

3.1.4 Cultural Industries 3.1.4.1 The cultural industries are defined in this policy as those involved in the production, distribution, consumption and trade in creative goods and services.
They are centrally dependent on the creative ideas of artists and artistes in order to achieve the innovativeness that gives them a competitive edge and the ability to create employment and contribute to artists’ livelihoods and the economy.8 Cultural industries include film, museums, galleries, libraries, media publishing, design, and fashion industries.
3.2 The Culturally Confident Citizen “In this novel, The Shadow Bride we can say that cultural confidence is as much the recognition of the ancestors and the folk as the recognition of the self.

It is as much going back to the past as coming home to the present.

It is what Lovelace in The Dragon Can’t Dance calls learning to feel.
It is about the group, the nation and the person.” Ken Ramchand (1992)9 3.2.1 The search for cultural confidence in the Caribbean is not a new phenomenon and it comes with particular challenges in heterogeneous societies like Guyana and Trinidad and Tobago.

Professor Ken Ramchand’s discourse on this topic at the 1992 CARIFESTA V, held in Trinidad and Tobago is testament that then, thirty (30) years after independence, the symptoms of a lack of cultural confidence were evident.
This cultural policy, coming twenty-seven (27) 8 This is akin to the UNESCO definition of cultural industries as those goods and services that “combine creation, production and commercialization of contents which are intangible and cultural in nature.” These industries use creativity, cultural knowledge and intellectual property to produce products and services with social and cultural meaning.

UNESCO, 2010) 9 Ken Ramchand.

Art and Cultural Confidence.


CARIFESTA V. The New Aesthetic and Meaning of Culture in the Caribbean.

“The Dream Coming in with the rain” Proceedings of the Carifesta V Symposia.

(1992) 19 years later, accepts a responsibility to generations both past and present to initiate deliberate action to achieve the goal of cultural confidence.
A culturally confident Trinidad and Tobago is a truly independent nation; settled in its own yet evolving national identity; full of pride in collectively building that national identity; possessed of a clear sense of the meaning of development for the nation and all its citizens; and a collective will to get there.

3.2.2 Where are we?

3.2.2.1 Trinidad and Tobago is a unique cultural space.
The historical co-location of different ethnic and ideological groups has led to a wholesome blend of cultures – religions, festivals, food, values, expressions and physical make up – that make us a beautiful cultural mosaic.

However, having not fully developed, at independence, a suitably united front to advance the process of liberation and self-discovery10, there is a deeply ingrained connection to the lands of our ancestral births; a strong culture of “motherland” heritage exists.
Though it is critical that we recognise our ancestry, growing cultural confidence demands that each group values its own identity and then, as equals, we work together to define that genuine collective we – the Trinbagonian identity.

3.2.2.2 Cultural confidence comes from a history that affirms you.11 This powerful statement by Dr. Earl Lovelace highlights an even deeper challenge of cultural confidence for the descendants of enslaved, denuded Africans and indentured East Indians.
The resulting shortfall of cultural confidence is associated with many challenges faced by post-colonial Trinidad and Tobago in various spheres of life – the social, economic, institutional and cultural.

In the social sphere, we wrestle with social cleavages, marginalisation and fragmentation among and within cultural groups.

Economically, there is inequality, a traditional heavy reliance by the state on a single product or an emphasis on finishing-touch industries by much of the business community.
In the institutional realm, we struggle with siloed planning which impacts the efficient use of resources, accountability and effectiveness of implementation.

10 Ken Ramchand.

Art and Cultural Confidence.

CARIFESTA V. The New Aesthetic and Meaning of Culture in the Caribbean.

“The Dream Coming in with the rain” Proceedings of the Carifesta V Symposia.
(1992) 11 Earl Lovelace at key informant interview with members of the Policy Unit, Ministry of Community Development, Culture and the Arts held on January 17, 2019.

20 Finally, in the cultural sphere we are yet to pursue the full potential of the cultural sector and maximise its impact on the pride of citizens, the livelihoods of artists and the economy.
There also appears to remain a pervasive sense of needing to have our cultures validated by non-nationals, particularly those from outside of the Caribbean region.

3.2.3 Where do we want to go?


3.2.3.1 We want citizens who believe in their cultural selves as individuals and as a collective; who are assured in their abilities as one people, to create a strong and successful nation; who believe in their collective will and power to maximise opportunities and overcome the current and future local, regional or global challenges that may confront the nation and its people.
Accordingly, we want citizens whose cultural awareness and sense of identity produce lawfulness, compassion, respect, responsibility, productivity, integrity and environmental sensitivity12.

We want citizens who will be able to harness their cultural creativity as part of their survival strategy, whether this is in the arts, in business or in how we relate with each other.

3.2.4 How do we get there?

3.2.4.1 We will utilize an overarching three-pronged approach to building cultural confidence: a.
We will address the enabling environment for cultural development in Trinidad and Tobago so that every facet of culture, our art forms and cultural industries can experience systematic growth.

We will also deepen our investment in cultural tourism recognising its role in imbuing pride in our culture, art forms, heritage and a desire to preserve, display and showcase it.
The relevant issues in this regard are addressed in recommendations for development of the culture and arts sectors and cultural industries at Sections 3.3.3.2, 3.4.4.1 and 3.5.4 respectively b.

We will invest in deliberate strategies to build cultural confidence.

Re-education is at the heart of this concerted approach.
Accordingly, the role of the Ministry of Education 12 These reflect some of the key values, attitudes, behaviours and aspirations of the National Development Strategy 2016-2030 (Vision 2030).

21 in targeting the 3-16 year old citizens is critical.

This liberation project will also have to engage with the wider population through a process of national dialogue, self-criticism and self-affirmation.

Associated with this role of national re-education is the employment of culture as an agent of change.
Culture as it is argued, is one of the most powerful means of exploring and addressing major challenges13, and this could include political, economic, social and environmental issues which require addressing individual philosophies and belief systems.
Additionally, considerable international research has identified factors (values, attitudes and behaviours) that are associated with highly successful nations.14 As an example, our culture and the arts can be used to promote universal values and behaviours that are consistent with our collective vision for the nation.

c. We will encourage and support the reform of local institutions recognising that Public Sector Reform is an essential requirement for building the cultural confidence of citizens.
Local institutions must adequately cater to and reflect the needs, aspirations and challenges of citizens and the vision for national development.

Indigenous institutions will more effectively promote productivity, accountability, equity, service excellence and place the highest value on the person and therefore be that enabling environment for confident citizens.
3.2.5 Specific Strategies for Building Cultural Confidence 3.2.5.1 We will employ specific strategies for building a culturally confident citizen and nation as follows: a.

We will ensure that the education system addresses the need for social equity and respect for diversity b.
We will facilitate active research into institutional models and strategies that produce desired outcomes in the education system and disseminate best practices among denominational and government schools c. We will develop an education system that: 13 British Arts Council.

The Power of Culture to Change Lives.

(2012) 14 Government of the Republic of Trinidad and Tobago.

“Vision 2030.

Many Hearts, Many Voices, One Vision.” (2017).

22 i.
22 i.

Is geared to producing thinkers and innovators who can respond to local needs, and ii.

Provides an accurate, indigenous and empowering account of our history.15 d. We will instill values such as goodwill, honesty, respect, tolerance, integrity and civic pride throughout the education system from pre-school to tertiary level.

e. We will engage in dialogue at all levels of society and within our education system to inculcate love, respect and dedication to country and its symbols.
f. We will encourage the use of appropriate messaging, symbols and content by all stakeholders including the private sector, civil society and state entities towards understanding and highly valuing our national identity and ethnic identities.

g. We will promote understanding and appreciation of our diverse ethnic make-up, with particular focus on our youth.
h. We will support and facilitate cultural exchange activities and programmes to cultivate a spirit of respect, acceptance and appreciation of diverse cultures among the citizenry of Trinidad and Tobago.

i.

We will mandate the use of aspects of Trinidad and Tobago’s indigenous culture and art form as tools for learning in the formal curriculum.

j.

We will create a platform for the recognition and celebration of artistic excellence on a national level.
k. We will establish a formal link between policy-makers and our tertiary level institutions such that the findings and recommendations from post-graduate and post-doctoral studies can be used to inform and guide policy formulation.
l. We will support through the relevant line ministry, all efforts to reform public sector institutions as well as encourage initiatives relevant to good governance and service excellence throughout Trinidad and Tobago as a significant pathway to producing culturally confident citizens.
15 The issue of writing an indigenous history of Trinidad and Tobago has been addressed under Section 4.3 23 3.3 The Arts “I see a people creative who must overcome Make magic from old steel, from rusty oil drum So why should I fear, some tears here and there I tell dem no way (no way)” Denise Plummer (2001)16 3.3.1 Where are we?

3.3.1.1 The Arts sub-sector has evolved into a vast and dynamic arena on the cultural landscape of Trinidad and Tobago.
It represents a cultural mosaic – an assembly of indigenous music styles and fusions; visual arts including uniquely Trinbagonian forms such as mas costume design and costume making; literary arts, film and animation; performing arts and dance, reflective of the country’s varied cultural influences, with many spawned by festivals and religious traditions, some of which include Carnival, Hosay and Ramleela.
3.3.1.2 Trinidad and Tobago’s arts ecology comprises an expansive range of state run, artist led, community institutions and corporate financing entities.

These have all contributed to an increasingly varied, high quality arts calendar catering to diverse audiences.

3.3.1.3 Still, there is much room for the development of the most optimum facilitative environment for the arts and the artists.
There is a demand for trained and certified practitioners in dance, music and stage management to reduce the heavy reliance on volunteer labour for staging events such as festivals.

Standards for remuneration are uncommon, and for certain disciplines, purpose-built facilities are required.

The majority of cultural service organisations rely too heavily on state funding, which has not encouraged the development of their autonomy and sustainability.
In the craft sector, technical, institutional and funding support is needed to facilitate the efficient production and distribution of high-quality craft products; and standards, quality control and pricing mechanisms are needed to ensure that craft products are priced in accordance with quality, creativity and marketability.

16Song: Nah Leaving.


(2001); Composer/author: Christophe Grant 24 3.3.1.4 Other issues which have come to the fore include the debate on local content policies; tariffs on artists’ equipment and materials; the timely issuance of work permits to and decent work, standards and the protection of cultural entrepreneurs and practitioners; and the need for focused training in cultural entrepreneurship at the earliest levels.
The final outcome of and solutions regarding these discussions and issues will have great impact on the sustainability and growth of the sector.

3.3.2 Where do we want to go?

3.3.2.1 This Policy envisions a Trinidad and Tobago which, recognising that culture, the arts and festivals are key to the vitality and socioeconomic well-being of the nation, appropriately incentivises and supports this sector as a valuable contributor to national development.

3.3.2.2 The policy seeks to create: a.


A nurturing cultural environment and ecosystem b.

A culture of artistic excellence c. Improved audience development for local artistes d. Improved regional and global market penetration of local artistes and products, and e. Developmental partnership and collaboration opportunities.

3.3.3 How will we get there?


3.3.3.1 We will utilise a suite of strategic actions to guide and support ongoing development of the arts sector toward achieving maximum social and economic benefit.

3.3.3.2 We will seek to create a nurturing cultural environment and ecosystem by: a.

Facilitating the development of policy guidelines and measures to guide children’s participation in and protect children from exploitation in artistic and cultural activities b.
Using cultural activities as inclusive mechanisms to support the development of special and vulnerable groups including women, men, youths, boys and girls and persons with disabilities 25 c. Protecting the right of all citizens to freely engage and express themselves culturally through the creation of safe, usable spaces and through the continued involvement of all communities in culture and the arts d. Conducting scheduled periodic review and rationalisation of state support to cultural organisations and state expenditure on culture e. The collecting of cultural statistics through the development of a proper governance structure, mandating entities that receive government subventions to produce robust reporting on their operations and spending activities.
This structure should facilitate collaboration and coordination with the Central Statistical Office and other relevant Ministries and stakeholders to produce data for the cultural sector and to inform policy f. Supporting the establishment of creative hubs in main city centres g. Ensuring a facilitative legislative environment with the required operational infrastructure that supports resolution of issues such as local content, intellectual property, financial support for the sector, and removal of archaic legislation affecting the sector h. Providing support for the celebration of national days and festivals to promote mutual respect and value across ethnic and religious lines i.
Creating an award and recognition system which celebrates excellence in the arts so as to incentivise the development of master artistes j.
Facilitating sustainable artists’ careers, the development and adoption of standards and a decent work agenda for cultural entrepreneurs k. Facilitating the review of the incentive regime for the informal sector with a view to ensuring that it is relevant and empowering l. Incentivising greater involvement of the private sector in support for the nurturing of young talent m. Providing training, internship, research and documentation opportunities for different levels of artistes n. Developing/revitalising infrastructure (e.g.
museums, theatre spaces) o.

Enabling the production of cultural goods and services for the global marketplace 26 p. Encouraging education in and appreciation and awareness of the arts including cultural entrepreneurship and innovation.

q.

Developing diverse audiences, and r. Penetrating regional and international markets.

3.3.3.3 We will pursue a culture of artistic excellence through: a.

Providing incentives for innovation in the arts and festival development and management b.
Supporting the use of technology and new media as a platform for developing capacity for research, documentation and sharing of visual and performing arts and the festivals c. Promoting training in the business of entrepreneurship, marketing, monitoring and evaluation, and financial management, including applications for grant funding, for cultural organisations d. Ensuring that Monitoring and Evaluation capacity within organisations becomes a condition for disbursement of grant funding e. Establishing linkages/partnerships with foreign arts institutes to afford local arts students exchanges and advanced training opportunities f. Establishing a system to focus on incentivising participation in emerging and innovative art forms g. Seeking out embryonic and emerging artists and cultural practitioners through talent searches, community arts vacation programmes and cultural camps, and h. Facilitating the growth of individual artists and their work from the idea to the finished product by the provision of creative spaces/work hubs, grant funding, professional development courses and mentorship/internship opportunities.
3.3.3.4 We will pursue improved audience development among citizens by: a. Revisiting the design and management of community facilities to ensure that they can also function adequately as purpose-built centres for the performing arts and for training, production, display and marketing of cultural products 27 b.
Developing a fixed calendar of annual festival events for the benefit of local and international tourism, and c. Providing permanent spaces and opportunities for marketing and display of local craft.

3.3.3.5 We will support improved regional and global market penetration of local cultural products and artistes through: a.

Supporting private and corporate efforts to market and distribute cultural goods and services b.
Supporting the creation of foreign markets for local cultural entrepreneurs through the Export Centres Company Limited and Export TT, Music TT, Film TT and Fashion TT c. Creating regional and international artist networks with a view to growing the cultural economy.

3.3.3.6 We will support developmental partnership and collaboration opportunities by: a.

Encouraging collaborations and partnerships among artists, arts organisations and audiences for sector cohesiveness and to bolster an arts ecology b.
Establishing formal linkages between local arts institutes, artistes, and government agencies to streamline the development of policies and initiatives for the growth of the cultural industries 28 3.4 Heritage, Memory and Legacy “Paving D way for all ah we showing the world our true beauty this vibrant and this colourful family singin as we toy, play, dance and love forefathers watching from above and blessing us shaping this Caribbean dream …….I believe you and me we are the wonders of this world I believe is all ah we that make up the wonders of my country” 3.4.1 Heritage, legacy and memory are those valued experiences and their meanings reflecting the Neval Chatelal and Machel Montano (2012)17 collective memories of a people, which sit at the intersection between our past and our present.
They are important receptacles of our experiences, language, norms and practices – cultural heritage.

Heritage, legacy and memory, well embraced, anchor the present in the illustrations of past errors and achievements, and provide guidance for successful national development.
They are critical also, in that they make for a sense of rootedness, locating the Trinbagonian identity within our culturally diverse population, beginning with our first peoples and culminating with the peoples who were brought or came, and strengthening the sense of who we are as one people forged from many.

A people also richly endowed with both natural and built treasures.
Accordingly, our heritage, legacy and memory must be preserved, protected, documented, analysed, housed and disseminated to the entire population18 as the foundation of building a nation.

17 Song: Wonders of this World ; Composer/author: Neval Chatelal and Machel Montano 18UNESCO.

Section for the Diversity of Cultural Expressions.Convention on the Protection and Promotion of the Diversity of Cultural Expressions.

(2005) 29 3.4.2 Where are we?


3.4.2.1 The rich legacy of our cultural heritage, including the preservation of our landscapes and lived environs, is still to be fully appreciated and owned by Trinbagonians as part of our strengthened identity and pride.

3.4.2.2 Additionally, in terms of our intangible heritage, the memory and legacy of many of our cultural legends, including the likes of Aldwyn Roberts (The Lord Kitchener) and his genius for pan arrangements; Beryl Mc.
Bernie, the great lady of dance; and Sundar Popo, the father of chutney music, are still to be appropriately documented and disseminated for the benefit of the younger generations.

The recognition and celebration of all our legends continues to be a work in progress.

3.4.2.3 Also topical is the growing debate centering on perceived historic inequality and domination in official language, and the names of places and monuments.
3.4.2.4 Trinidad and Tobago is well poised to pursue increased benefit from its rich cultural heritage.

As a nation we have inherited a solid legacy of heritage institutions including The National Museum and Art Gallery in 1892.19 The country also evolved these and other public sector and civil society entities20 of a more recent vintage, all designed to collect, store, preserve, and curate physical collections of objects, artefacts and public records.
The full potential of these critical institutions will be realised through deliberate efforts to address structural concerns including: clear policy direction, greater synergies across institutions, the use of modern technologies, specialist personnel, state of the art infrastructural support, and improved operational efficiencies.

3.4.3 Where do we want to go?
3.4.3.1 We want an environment that facilitates the timely documentation of and appreciation for all of our cultural heritage towards a strong sense of national ownership, pride and identity 19 National Museum and Art Gallery (formerly the Royal Victoria Institute of 1892); the public library system (1851) which evolved into National Library and Information System Authority (NALIS) in 2003; the National Archives of Trinidad and Tobago (1960) 20 The Carnival Institute of Trinidad and Tobago (1999); National Carnival Commission (1991) Citizens for Conservation; dozens of museums defined as state run, corporate, community and private 30 as Trinbagonians and a sense of national pride that embraces and takes responsibility for our natural heritage.
3.4.4 How do we get there?

3.4.4.1 We will seek to promote greater synergies across our public sector and civil society heritage institutions, academia and corporate Trinidad and Tobago in the documentation, preservation and dissemination of our intangible heritage and the safeguarding and exploitation of our tangible heritage through: a.

Providing for acquisition of specialist staff, continuous capacity-building and strengthening of institutions with a heritage mandate.
b. Incentivising (scholarships) studies in heritage management.

c. Utilising international standards and best practices for upgrading processes and techniques for storage and preservation of tangible assets including modern and digital technologies.

d. Utilising heritage and other tangible assets for revenue-generating activities (e.g.

historic buildings).


e. Creating a culture that engenders an attitude of environmental consciousness and esteems conservation and preservation of our national assets, be they man made or natural21 as part of growing national pride and protecting the environment.

f. Utilising heritage tourism as part of a strategy of economic diversification.

g. Utilising Information and Communication Technology to widen the marketing and consumption of heritage, knowledge and experiences.
h. Supporting measures to safeguard traditional knowledge.

i.

Promoting heritage awareness throughout the primary and secondary schools curriculum and extra-curricular activities.

j.

Promoting increased coverage of folk and indigenous material in a variety of formats.

21 Government of the Republic of Trinidad and Tobago National Development Strategy 2016-2030 (Vision 2030): Many Hearts, Many Voices, One Vision.
31 k. Adopting policy measures that protect and preserve the nation’s natural beauty and aesthetics (e.g.

the cleanliness and natural beauty of our landscapes- our road ways, rivers, parks and yards).

l. Focusing on the further development of National Libraries and Archives by: i.
Establishing a national records and archives policy and legislation that would clearly define the mandate and authority of the National Archives to acquire, preserve and provide public access to the nation’s documentary heritage and guide public record keeping policies and practices ii.

Providing state of the art facilities for the National Archives and improving its human resource and technological capacity to facilitate wider and digital access to one-of- a-kind documentary heritage iii.
Improving the capacity of NALIS in the acquisition, preservation and provision of public access to its collections of Trinidad and Tobago’s documentary heritage, and iv.

Expanding NALIS’ reach into geographic communities and communities of interest, by utilising satellite libraries in such spaces as community centres, orphanages, prisons and the like, as access points for information on local history and heritage.
m. Focusing on the further development of the Museum Sector by: i. Finalising the Museum Sector Policy for Trinidad and Tobago to chart a clear pathway for the development of the museum sector including: - Review of the National Museum and Art Galleries Act to enable NMAG, as the most resourced state museum, to play a greater supportive role in the development of the museum sector nationally, and with specific emphasis on civil society, community and private museums - Establishment of museum standards and a museum registry, and - Support for the establishment of themed museums and spaces including the Sugar Museum, a Carnival Museum, and a Steelband Museum among others.
32 n. Focusing on heritage sites by: i.

Initiating the legislative review of the Act of 1999 of the National Trust of Trinidad and Tobago to provide the Trust with the required jurisdictions, in keeping with international best principles and practices, to strengthen its ability to acquire requisite human, financial and infrastructural support to better protect and serve the heritage sites ii.

Developing an archaeological policy and legislation to protect archaeological sites and artefacts iii.
Vesting in the National Trust heritage sites such as the Nelson Island and the Five Islands, the Banwari Burial Site and other selected sites for income generation purposes iv.

Inspiring restoration of heritage buildings by exploring innovative fiscal and other incentives for corporate partnership22 v. Developing an incentive regime geared specifically towards the preservation of heritage properties, and vi.
Standardising the upgrade and better management of heritage assets and sites in keeping with international standards.

o.

Focusing on the documentation and dissemination of information about our cultural heritage and history by: i.

Supporting partnerships among government, academia and the corporate sector towards the documentation of the genius and impact of the work of cultural legends ii.
Supporting the establishment of grants and endowments at the universities focused on documenting aspects of our cultural heritage, for example the writing of an indigenous history of Trinidad and Tobago, and iii.

Establishing special grants to facilitate engagement in heritage projects including but not limited to the Eric Williams Digital Collection; the Calypso Library and Research Database23 among others, and to support other innovations in heritage projects.
22 The National Trust of Trinidad and Tobago.

Draft Strategic Plan 2019-2023.

(2018) 23 The idea of Melissa Williams, Policy Development Specialist, Policy Unit, Ministry of Community Development, Culture and the Arts and member of Trinbago Unified Calypsonian Organisation (2019) 33 3.5 Cultural Industries 3.5.1 The value of the global market for creative goods more than doubled from $208 billion in 2002 to $509 billion in 201524.
This sector contributes a significant 3% to global gross domestic product (GDP) making it a powerful emerging economic sector, which is also strengthened by a surge in digitalization and services25.

A subset of the creative economy, the cultural industry in Trinidad and Tobago has the potential to rival many cultural industries across the globe, with our world class cultural content copping major international awards, and receiving global recognition.
The cultural industry is also a dynamic area of economic activity given its ability to generate income, provide jobs at varying levels and produce export earnings while at the same time providing intrinsic benefits for citizens, promoting social inclusion and national pride.

3.5.2 Where are we?

3.5.2.1 Over the past decade, state facilitated development of our cultural industries focused attention on music, fashion and film as major areas for contribution to economic diversification.
Trinidad and Tobago’s film industry is shared among feature films, documentaries and short animation videos, music production and music video production, with more than half of film and video enterprises operating in markets outside of Trinidad and Tobago – in the Caribbean or internationally.

Between 2005 and 2018, approximately 418 international one-off productions were shot in Trinidad and Tobago; with a spend of approximately US$15 million26.
3.5.2.2 The music sub-sector is also in evolution based on global changes in the recorded music market, audience habits and the growing importance of the live music sector27.
It is supported by a range of entities which make up the core music industry (creative practitioners, the recorded music sector, music representatives including copyright 24 ‘Creative Economy Bucks the Trend, Grows Despite Slowdown in Global Trade,UNCTAD/PRESS/PR/2019/001 Geneva, Switzerland, (14 January 2019) 25 How the creative economy can help power development08 November 2019 https://unctad.org/en/pages/newsdetails.aspx?OriginalVersionID=2230 26 Trinidad and Tobago Film Company (FilmTT) 27 Ministry of Trade and Industry.
Trinidad and Tobago Music Industry Strategy.

34 management organisations) along with the Trinidad and Tobago Music Company Limited (Music TT).

Music TT is mandated to stimulate and facilitate the business development and export activity of the music industry in Trinidad and Tobago and to generate national wealth.

Key issues affecting the sector are the seasonal nature of the industry; pirated music; and inconsistent and insufficient air play given local tastes for foreign genres.
3.5.2.4 3.5.2.3 Trinidad and Tobago Fashion Company Limited (Fashion TT) is a dedicated state entity charged with the responsibility to stimulate and facilitate the business development and export activity of the local fashion industry.

The fashion industry, though showing signs of decline over the past decade28, has shown strong inclinations to the Caribbean, North America and European markets, with room for greater penetration of the Asian market.
The fashion industry, supported by the Trinidad and Tobago Fashion Company Limited (Fashion TT), is being re-purposed as a fashion hub through the development of specific sectors, support organisations and events with a view to increased sustainable employment, strengthened capacity of players to participate in the international market and increased foreign exchange.29Other areas in the cultural sector are also expanding.
The local publishing industry, for example, comprises publishers of children’s books, classical literature and textbooks, periodicals and other publications, with textbook publishers enjoying favourable market conditions since their products are approved by government for purchase.

3.5.2.5 Cultural industries on the whole face a number of challenges along the value chain.
At the production stage a lack of domestic competition for some cultural products inhibits product development and technological capacity for production.

Duties and taxes on imported materials are significant.

At reproduction stage, non-existent or weak incentive packages, weak institutional frameworks in relation to intellectual property, trade, innovation policies and technology are also issues30.

28 Ministry of Trade and Industry.


Consultancy for the Development of a Strategic Plan for the Fashion industry of Trinidad and Tobago.

(2015) 29 IBID 30 Nurse, K. and others.

The Cultural Industries in CARICOM: Trade and Development Challenges.

Report Prepared for the Caribbean Regional Negotiating Machinery.
(2007) 35 3.5.2.6 At the marketing and distribution stage, piracy and copyright infringements continue to constrain creatives’ ability to realise the full benefits from protection of their creative input.31 Although a robust legislative framework for the protection of intellectual property rights exists within Trinidad and Tobago, the enforcement of intellectual property laws continues to be a major challenge.32 Lack of industry-specific data and high taxation on equipment are challenges and existing business models and branding strategies are inadequate to accelerate access to national, regional and global markets.33 3.5.3 Where do we want to go?
3.5.3.1 We desire the arts and cultural sectors to provide viable and sustainable livelihoods for our cultural practitioners and for the cultural industry to become an increasingly significant contributor to the national economy and economic diversification.

3.5.4 How do we get there?

a.

We will support creative idea development by emphasising critical thinking skills in the education sector.

b.
b.

We will encourage targeted and creative business models, including the cooperative business model, as a means of inclusive and dynamic growth in the sector c. We will support excellence in product/service development by providing local and foreign training/investorship/internship opportunities to ensure production of exceptional cultural goods and services.
d. We will support a paradigm shift in local tastes and appetites by incorporating the “buy local” message into media advertisements and incentive programs so as to create improved markets for locally produced cultural products.

e. We will mandate the collection of local cultural statistics in keeping with international (UNESCO) standards for use in policy-making.

f. We will support the enforcement and mainstreaming of standards.

31 Ibid.

32 Cabinet Appointed Committee.


Final Report of the Cabinet Appointed Committee to make Recommendations for the Regulation of the Home Entertainment Industry (HEAT).

(2009) 33 Nurse, K. and others.

The Cultural Industries in CARICOM: Trade and Development Challenges.

Report Prepared for the Caribbean Regional Negotiating Machinery.
(2007) 36 g. We will create the institutional architecture for co-ordination and collaboration among cultural industry stakeholders at strategic and operational levels.

h. We will facilitate discussions within the sector with respect to the use of artists’ guilds as mechanisms to promote equity, decent work, standards and quality management.

i.
i.

We will actively pursue market opportunities for cultural goods and services through the Ministry of Trade and Industry and the Ministry of Foreign and CARICOM Affairs and its overseas missions.

j.

We will partner with tertiary training institutions to provide training in artist management and management of cultural industries.

k. We will encourage networking and linkages among cultural industries.
l. We will champion the enforcement of Intellectual Property (IP) laws and regulations as a fundamental mechanism through which cultural workers and businesses can generate value from their creativity.

m. We will create networks of skilled producers for knowledge sharing and product innovation.
n. We will support the maximization of the use of the digital environment through: i. engaging relevant stakeholders to support the development and implementation of a road map that will guide the expansion, marketing, dissemination, greater production and utilisation of cultural goods and services in the digital domain; and ii.

engaging in initiatives geared towards improving digital literacy to ensure access to diverse digital content to empower local actors.

o.
o.

We will institutionalise the indigenous cultural tourism product by: i. Mandating a partnership among the Ministries of Tourism, Trade and Industry and Community Development, Culture and the Arts to provide the facilitative infrastructure for the development and marketing of a comprehensive calendar of 37 events to provide a holistic tourism experience for international, regional and local tourists, and ii.

Incentivising corporate partnership in the staging of such events.
p. We will promote the production of high quality indigenous and local craft by: i.

Establishing permanent, state of the art facilities for artisans at ports of entry (air/cruise ship) ii.

Supporting research and development for best practices and process mechanisation to make indigenous craft more internationally competitive, and iii.
Mandating cooperative arrangements between the Export Centres Company Limited (ECCL) and The National Export Facilitation Organisation of Trinidad and Tobago (Export TT) towards international market penetration.

iv.

Mandating focused attention and strategic investments in growing the steel pan industry, and Carnival and other local festivals q.

We will encourage strategic development of the indigenous music industry by: i.
Facilitating synergies across the music industry ecosystem for, inter alia, the development of: - - Industry guidelines including the determination of standard rates for services Incentives aimed at increasing the percentage of local music played on radio stations, and - Strengthening and expanding efforts at providing training and support to innovations in music education as well as steel pan music composition and arranging.34 r. We will grow the local film industry by: i.
Strengthening the Production Expenditure Rebate Programme to increase client confidence in the programme ii.

Marketing location T&T in the international arena as a viable option for international products, and 34 These are among the priority strategies culled by Music TT from key stakeholders in the industry.

38 iii.

Enforcing and activating existing Trade Agreements35 and creating (or strengthening) legislation to underpin the activities of the Film Industry (e.g.
filming permits, local content, and film law).36 s. We will grow the local fashion industry by: i.

Broadening and deepening market access for individual firms of all fashion industry sectors through partnerships and targeted involvement in international trade shows ii.

Promoting organisational and operational improvement of companies with a proven track record in the sector by provision of capacity building programmes at different levels through established tertiary institutions iii.
Aligning local industry activity with international market cycles and key international events and at the same time maximising the integration possibilities of the local sector, and iv.

Promoting the fashion industry as a viable career option for young professionals.

t. We will encourage expansion of the local publishing industry through: i. ii.

iii.
iii.

Introducing and enforcing standards for publishing Encouraging the development of literary festivals, and Facilitating the review and revision of the Art and Culture Allowance in the Corporation Tax Act with a view to expanding rebate options associated with the literary arts and other sectors as well as simplifying the procedures required of artists and the corporate sector.
35 (Agreements such as: ATA Carnet, Economic Partnership Agreement provisions for Cultural and Creative Development—refer to Protocol III on Cultural Cooperation) 36 These are some of the key strategies for the industry as prioritised by Film TT, consistent with its Strategic Plan 2018-2023.
39 Chapter Four: Implementation Plan “We must work to maintain the Culture So we can be sure they will have a future…..” “Now is the time….” “Our History shows that we are one people So obviously we are part of the struggle Let us prove what we’re talking about Or let us show, love, let us pour it out ”Brotherhood and Camaraderie (1986)37 4.0 Implementation Plan for the National Policy on Culture and the Arts (NPCA) 4.1 Implementation principles and objectives 4.1.1 The NPCA seeks to facilitate a thriving, inclusive and dynamic cultural sector by engaging in strategies to enhance cultural confidence, to harmonise the cultural sector and build a robust cultural environment for the maximum development of our cultural practitioners; preservation, promotion and optimisation of our arts, heritage assets and cultural products.
4.1.2 Accordingly, the implementation of the NPCA will be pursued through institutional arrangements designed to: a. pursue a genuine partnership between the government and cultural workers, b. energise our culture and the arts sector, c. expand our cultural exports, and d. ensure continued nation building 37 Song: Now is the Time/Calypso for Africa; Composed/author: Emanuel Gilchrist, Emrold Phillip, Gilman Figaro, Joseph R. Brown, Kelvin Pope (deceased), Leroy Paul (deceased), Ralph McDonald, Rudolph Hepburn, Willard Harris , William Eaton, William Salter 40 4.2 Institutional Arrangements 4.2.1 These objectives will be pursued through an institutional mechanism coordinated by the Ministry with responsibility for culture and the arts - the Technical Forum on Culture and the Arts (TFCA).
4.2.2 The Technical Forum on Culture and the Arts (TFCA) 4.2.2.1 A core requirement for the development of the culture and arts sector and the maximisation of its fullest potential, is a harmonised approach across entities which contribute to its advancement.
At the level of the state, by far the largest investor in culture, an integrated approach across Ministries and agencies operating in the culture and arts sector, will be pursued in the establishment of the Technical Forum on Culture and the Arts (TFCA).

4.2.2.2 The TFCA is envisaged to be a platform for information-sharing, collaboration and role clarification between the Ministries and state agencies which are cultural stakeholders.
This will serve to reduce duplication and redundancy in projects undertaken by these institutions.

The TFCA will oversee implementation of the recommendations contained in the NPCA as outlined under the four sub-policy areas, and preside over any expansions to the range of interventions identified.

It will also be guided by considerations at Annex II.

4.2.2.3 The TFCA will be appointed by the Minister with responsibility for Culture and the Arts.
It shall be comprised with due consideration to the diversity of the sector and the skills required.

Members would include representatives of state agencies with responsibilities related to the development of the cultural sector, including experts who will ensure that deliberations and actions are informed by the best knowledge and research38.

The TFCA will also be able, when necessary, to co-opt additional state and non-state participants with needed expertise.
Administrative support to the meetings of the TFCA will be provided by the Culture Division of the MCDCA.

See Annex III for the composition and operations of the TFCA.
38 A pool of cultural experts from the Trinidad and Tobago diaspora as well as international experts may be assembled to provide advisory services to the TFCF, at no cost 41 4.3 Monitoring and Evaluation 4.3.1 The Ministry of Community Development, Culture and the Arts via its Project Implementation and Research Units will be the key oversight body tracking implementation of the National Policy on Culture and the Arts.

It will be assisted in this role by the Technical Forum on Culture and the Arts (TFCA).
4.3.2 Accompanying the implementation of the NPCA will be a comprehensive Monitoring and Evaluation Plan outlining the relevant indicators and methods of measurement to assess its overall effectiveness.

This activity will be done in collaboration with key stakeholders of the cultural sector.

4.4 Policy Review 4.4.1 A comprehensive review of the NPCA implementation will commence in year four (4) and will inform the policy revision process.
42 Chapter Five: Conclusion 5.0 Conclusion 5.0.1 The finalisation of a cultural policy in Trinidad and Tobago is a most significant step.

This cultural policy is both interrupter and enabler.

The policy recommends strategic directions and actions that represent a shift in development planning toward using cultural policy making and implementation as a change agent in deliberately pursuing a strengthened sense of national identity, and as a tool of economic and social development.
This is in keeping with current best practice in cultural policy-making.

5.0.2 This policy outlines government’s commitment to assembling and enabling expertise, infrastructure and resources, bringing a light yet focused touch to its role as chief enabler in an increasingly fertile cultural eco-system.
5.0.3 Mindful of the potentially unlimited opportunities for dissemination of cultural products and services globally and the related economic benefit which can accrue to culture creators, the policy is dedicated to structured collaboration and co-ordination and fair and transparent decision-making within and among public sector agencies with a culture mandate.

It provides for meaningful involvement of arts organisations in decision-making.
All told, this promises increased efficiency and impact of the considerable investment and expenditure on culture.

These strategic approaches should lead to the realisation that arts not only ‘cost’ (government), but also ‘pay’ (creatives).

5.0.4 Trinidadians and Tobagonians display an enviable diversity and wealth of creativity and innovation and we are known for the passion and excellence which we pour into cultural expressions.
In tribute to our peoples the policy commits to identifying the pathways that capture the essence of who we are, and converting them in these times, for our economic and intrinsic benefit so that we may realise calypsonian David Michael Rudder’s vision: “Out of a muddy pond, ten thousand flowers bloom.”39 39Rudder, David.

“Dedication (A Praise Song),”In The Gilded Collection1986-1989.

Lypsoland, 1993.

43 Glossary No.

Terms 1.

Architect 2.

Arts 3.

Creative Economy 4.


Creative Industries Definition Refers to a model of Government’s role in shaping the development of arts and culture programmes via direct assistance at the school, community and national levels, consistent with policy directions and national objectives of social well-being and cultural development.

Refers to expressive area of our culture that is key to the social and economic well-being and vitality of the nation and its peoples.
The arts include music, media, film, literary, visual, festival and other performing arts.

In the Trinidad and Tobago context, some examples of the arts include indigenous music styles such as calypso, soca, tambrin, chutney, rapso, ragga, extempo, parang and several fusion styles such as parangsoca, jamoo and chutney soca.
Further, they include uniquely Trinbagonian forms such as mas costume design and costume making; performing arts and dance which reflect many cultural influences – Indian and European classical styles, African, Indian and middle eastern retentions, folk, modern, jazz, gospel and popular culture.

The creative economy has no single definition.

It is an evolving concept which builds on the interplay between human creativity and ideas and intellectual property, knowledge and technology.
It is described as the economic activity based on an individual’s skills talents whereby the talent is exploited and generated to create wealth and to develop intellectual property40.

Essentially it is the knowledge-based economic activities upon which the ‘creative industries’ are based.

The creative economy is the sum of all the parts of the creative industries, including trade, labour and production.
Refers to the economic activities that are based on an individual’s skills and talent whereby the talent is exploited and generated to create wealth and to develop intellectual 40 Essays, UK.

(November 2018).

Difference between Culture Industry and Creative Industry.

Retrieved from https://www.ukessays.com/essays/business/the-difference-between-culture-industry-and-creative- industry-business-essay.php?vref=1 44 No.

Terms 5.

Culturally Confident Citizen 6.

Cultural Ecology 7.
Cultural Ecology 7.

Cultural Industries Definition property.

The basic inputs in these industries are creativity and intellectual capital, while the end products are tangible goods and intangible intellectual property or artistic services.41 The culturally confident citizen is one who fully embraces his/her place and voice in the public sphere (the nation) and claims an equal share of rights and recognition in relation to other citizens.
A culturally confident citizen has a sense of self-assurance arising from being grounded in, understanding and valuing his/her own culture; is able to engage with persons of other cultural groups as equals; and is unafraid to show up and assert his/herself in the global space.

Refers to the richness and diversity of elements which make up the cultural sector, the dynamics and relationships among them and how these relationships play out in implementing cultural policy.
As such, a cultural ecology is comprised of policies and the local, regional and international instruments which confer policy with its mandate.

It goes further to include programmes, legal and regulatory frameworks, priorities and strategic decisions, funding mechanisms, public, private and community institutions, stakeholders in culture, business, and academia and the community.
UNESCO defines cultural industries as those goods and services that “combine creation, production and commercialization of contents which are intangible and cultural in nature”.

These industries also use creativity, cultural knowledge and intellectual property to produce products and services with social and cultural meaning (UNESCO, 2010).
The one distinct feature in cultural goods and services is that they encourage culture by promoting and maintaining cultural diversity and enhance democracy in accessing culture.

42 The term cultural industries are defined in this policy in terms of the areas in which the ways of being of 41 IBID 42 Essays, UK.

(November 2018).

Difference between Culture Industry and Creative Industry.
Retrieved from https://www.ukessays.com/essays/business/the-difference-between-culture-industry-and-creative- industry-business-essay.php?vref=1 45 No.

Terms 8.

Culture 9.

Cultural Sector 10.

Facilitator 11.

Heritage, Memory and Legacy Definition Trinbagonians are and can be monetized.
They are centrally dependent on the creative ideas of artists and artistes in order to achieve the innovativeness that gives them a competitive edge and the ability to create employment and contribute to artists’ livelihoods and the economy.43 Cultural industries include film, museums, galleries, libraries, media publishing, design, and fashion industries.

The term “culture” is crucial in cultural policy-making.
That definition is the basis for users in considering the policy’s intention, scope, focus, implementation and evaluation.
For the purposes of this cultural policy, the meaning of the word “culture” is grounded in the UNESCO definition: Ways of life and structures of being and Cultural expressions (performing, literary, visual and media arts) The range of actors, institutions, cultural products and activities that make up the cultural landscape in a given society Refers to Creating conditions via a “hands off” approach, for resources to be made available in an enabling environment to individuals, organisations and enterprises for the purpose of cultural activities and promotion of cultural diversity Pertains to what is valued and the meanings attached, which is at the same time our link to the past and the platform for creating our future 12.
National Identity Refers to a sense of belonging among all social group 13.

Nurturer 14.
Sustainability Refers to financing or subsidizing selected cultural organisations to boost excellence and achievement in the performing, literary, visual and media arts, and develop audiences Refers to the reservation and protection of cultural and natural heritage and traditional knowledge, creation of opportunities for sustainable livelihoods in the creative economy including exploration and development of new markets for cultural goods and services 43 This is akin to the UNESCO definition of cultural industries as those goods and services that “combine creation, production and commercialization of contents which are intangible and cultural in nature.” These industries use creativity, cultural knowledge and intellectual property to produce products and services with social and cultural meaning.
UNESCO, 2010) 46 ALIGNMENT OF GOALS, OBJECTIVES, STRATEGIES AND RESPONSIBILITIES NB: It must be noted that many of the strategies may cut across themes, goals and objectives GOALS OBJECTIVES Theme 1: National identity and cultural confidence STRATEGIES AGENCIES RESPONSIBLE Annex I 1.

Enhance cultural confidence by enriching the participation of all in cultural development that transforms the social and economic experiences of the nation.

a.
a.

To facilitate and integrate the for pathways understanding, celebrating and valuing of our highest selves through formal informal and education.

i. ii.

Culturally Confident Citizens Ensure that the education system addresses the need for social equity and respect for diversity - Ministry of Education - Ministry of Community Development, Culture and the Arts iii.
a. active research practices into Facilitate institutional models and strategies that produce desired outcomes in the education system and disseminate best among denominational and government schools Develop an education system that: Is geared to producing thinkers and innovators who can respond to local needs b.
Provides an accurate, indigenous and empowering account of our history 47 - Ministry of Education - Ministry of Communications: Archives of Trinidad and Tobago) (National - Ministry of Public Administration (The National Library and Information System) - Ministry of Community Development, Culture and the Arts - Ministry of Education - Ministry of Planning and Development: (National Trust of Trinidad and Tobago) - Ministry of Public Administration (The National Library and Information System) - Civil Society - Ministry of Community Development, Culture and the Arts GOALS OBJECTIVES Theme 1: National identity and cultural confidence STRATEGIES AGENCIES RESPONSIBLE iv.
v. understanding Promote and appreciation of our diverse ethnic make-up, with particular focus on our youth.

Support cultural exchange activities and programmes to cultivate a spirit of respect, acceptance and appreciation of diverse cultures among the citizenry of Trinidad and Tobago.

facilitate and vii.

vi.

Mandate the use of aspects of Trinidad and Tobago’s indigenous culture and art form as tools for learning in the formal curriculum.
Create a platform for the recognition and celebration of artistic excellence on a national level.

Establish a formal link between policy- makers and our level institutions such that the findings and post- recommendations graduate and post-doctoral studies can be used to inform and guide policy formulation.

tertiary from viii.
tertiary from viii.

- Ministry of Community Development, Culture and the Arts - Ministry of Education - Ministry of Community Development, Culture and the Arts - Ministry of Education - Ministry of Community Development, Culture and the Arts - Ministry of Community Development, Culture and the Arts - Ministry of Community Development, Culture and the Arts - Academic institutions 48 GOALS OBJECTIVES Theme 1: National identity and cultural confidence STRATEGIES AGENCIES RESPONSIBLE ix.
Support creative idea development by emphasising critical thinking skills in the education sector.

- Ministry of Education - Ministry of Community Development, Culture and the Arts b.

To utilise culture and the arts as a tool for promoting and values, behaviours (VABs) that are associated with higher levels of national development.

attitudes x. xi.

xii.


Culturally Confident Citizens - Ministry of Education - Ministry of Education - Ministry of Community Development, Culture and the Arts - Ministry of Communications - National Library and Information System - Ministry of Rural Development and Local Government - Ministry of Community Development, Culture and the Arts Instill values such as goodwill, honesty, respect, tolerance, integrity and civic pride throughout the education system from pre-school to tertiary level.
Engage in dialogue at all levels of society and within our education system to inculcate love, respect and dedication to country and its symbols.

Support through the relevant line ministry, all efforts to reform public sector institutions as well as encourage initiatives relevant to good governance and service excellence throughout Trinidad and Tobago as a significant culturally pathway confident citizens.
producing to 49 GOALS OBJECTIVES Theme 1: National identity and cultural confidence STRATEGIES AGENCIES RESPONSIBLE c. To determine, recognise, preserve and promote the intrinsic and material value of expressions, traditional knowledge and skills and cultural products.

artistic Culturally Confident Citizens - Ministry of Community Development, xiii.

xiv.
xiv.

Encourage the use of appropriate messaging, symbols and content by all stakeholders including the private sector, civil society and state entities towards understanding and highly identity and valuing our national ethnic identities.

Establish a link between formal policy-makers and our tertiary level institutions such that the findings and recommendations post- graduate and post-doctoral studies can be used to inform and guide policy formulation.

from Heritage, Memory and Legacy xv.

xvi.


Provide for acquisition of specialist staff, continuous capacity-building and strengthening of institutions with a heritage mandate.

for practices Utilising international standards and best upgrading processes and techniques for storage and preservation of tangible assets including modern digital technologies.
and Culture and the Arts Private sector - - Civil Society - Ministry of Community Development, Culture and the Arts - Academic institutions - Ministry of Planning and Development (National Trust of Trinidad and Tobago) - Ministry of Communications (National Archives of Trinidad and Tobago) - Ministry of Community Development, Culture and the Arts - Ministry of Planning and Development (National Trust of the Republic of Trinidad and Tobago) - Ministry of Communications (National Archives of Trinidad and Tobago) - Ministry of Community Development, Culture and the Arts 50 GOALS OBJECTIVES Theme 1: National identity and cultural confidence STRATEGIES AGENCIES RESPONSIBLE xvii.
Utilising heritage and other tangible assets revenue-generating activities (e.g.

historic buildings).

for xviii.

Utilising heritage tourism as part of a strategy of economic diversification.

xix.

Supporting measures to safeguard traditional knowledge.
- Ministry of Planning and Development (National Trust of Trinidad and Tobago) - Ministry of Communications Archives of Trinidad and Tobago) (National - Ministry of Community Development, Culture and the Arts - Ministry of Tourism - Ministry of Planning and Development (National Trust of the Republic of Trinidad and Tobago) - Ministry of Communications (National Archives of Trinidad and Tobago) - Ministry of Community Development, Culture and the Arts - Ministry of Planning and Development (National Trust of the Republic of Trinidad and Tobago) - Ministry of Communications Archives of Trinidad and Tobago) (National - Ministry of Community Development, Culture and the Arts 51 GOALS OBJECTIVES Theme 1: National identity and cultural confidence STRATEGIES AGENCIES RESPONSIBLE xx.
Focusing on the further development of - Ministry of Public Administration - Ministry of Communications (National National Libraries and Archives by: Archives of Trinidad and Tobago) a.

Establishing a national records and archives policy and legislation that would clearly define the mandate the National and authority of Archives to acquire, preserve and provide public access to the nation’s documentary heritage and guide public record keeping policies and practices b.
Providing state of the art facilities for the National Archives and improving its human resource and technological capacity to facilitate wider and digital access to one-of-a-kind documentary heritage Improving the capacity of NALIS in the acquisition, preservation and its provision of public access to collections of Trinidad and Tobago’s documentary heritage c. d. Expanding NALIS’ reach communities into and geographic communities of interest, by utilising satellite libraries in such spaces as community centres, orphanages, prisons and the like, as access points for information on local history and heritage 52 GOALS OBJECTIVES Theme 1: National identity and cultural confidence STRATEGIES AGENCIES RESPONSIBLE 2.
Strengthen national identity and the sense of belonging among all social groups.

a.

To ensure equitable access to opportunities the allocation of in resources to all.

b.

To engender respect and the recognition cultural practices and attributes of all societal groups.

for xxi.

xxii.
for xxi.

xxii.

Culturally Confident Citizens Ensure that the education system addresses the need for social equity and respect for diversity Instill values such as goodwill, honesty, respect, tolerance, integrity and civic pride the education system from pre-school to tertiary level.

throughout - Ministry of Education - Ministry of Community Development, Culture and the Arts - Ministry of Education - Ministry of Community Development, Culture and the Arts xxiii.
Create a platform for the recognition and celebration of artistic excellence on a national level.

- Ministry of Community Development, Culture and the Arts The Arts xxiv.

Protecting the right of all citizens to freely engage and express themselves culturally through the creation of safe, the usable spaces and continued all communities in culture and the arts through of involvement c. To use culture and our art forms as a means to promote social justice.

The Arts xxv.
The Arts xxv.

throughout Instill values such as goodwill, honesty, respect, tolerance, integrity and civic pride the education system from pre-school to tertiary level Promoting and appreciation of our diverse ethnic make-up, with particular focus on our youth.

understanding xxvi.
understanding xxvi.

- Ministry of Community Development, Culture and the Arts The Ministry of National Security - - Civil Society - Ministry of Education - Ministry of Community Development, Culture and the Arts - Ministry of Education - Ministry of Community Development, Culture and the Arts 53 GOALS OBJECTIVES STRATEGIES AGENCIES RESPONSIBLE Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.

strengthen The Arts a.


To i. Develop/revitalise cultural infrastructure.

(e.g.

museums, theatre spaces) - Ministry of Planning and Development (National Trust of Trinidad and Tobago) - Ministry of Community Development, Culture and the Arts 1.

Secure and strengthen infrastructure for cultural preservation, diversity, participation, exchange and expression and facilitate the development of platforms cultural exchange, for intercultural and inter- religious dialogue and heritage transmission.

ii.
ii.

Supporting the establishment of creative - Ministry of Community Development, hubs in main city centres.

Culture and the Arts iii.

Providing support for the celebration of national days and festivals to promote mutual respect and value across ethnic and religious lines.

- Ministry of Trade and Industry - Ministry of Tourism - Corporate Sector - Civil Society - Ministry of Community Development, Culture and the Arts - Religious Bodies - Civil Society iv.
Establishing linkages/partnerships with foreign arts institutes to afford local arts students exchanges and advanced training opportunities International Arts Institutions - - Ministry of Community Development, Culture and the Arts - Ministry of Foreign and CARICOM Affairs v. Establishing a system to focus on incentivising participation in emerging and innovative art forms - Ministry of Community Development, Culture and the Arts - Ministry of Planning and Development 54 GOALS OBJECTIVES STRATEGIES AGENCIES RESPONSIBLE Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.
vi.

Facilitating the growth of individual artists and their work from the idea to the finished product by the provision of hubs, creative grant spaces/work professional funding, development courses and mentorship/internship opportunities.

- Ministry of Community Development, Culture and the Arts - Ministry of Trade and Industry vii.

Supporting the use of technology and new media as a platform for developing capacity for research, documentation and sharing of visual and performing arts and the festivals.
- Ministry of Community Development, Culture and the Arts viii.

Support and facilitate cultural exchange activities and programmes to cultivate a spirit of respect, acceptance and appreciation of diverse cultures among the citizenry of Trinidad and Tobago - Ministry of Community Development, Culture and the Arts Heritage, Memory and Legacy ix.

Utilising Information and Communication Technology to widen the marketing and consumption of heritage, knowledge and experiences.
- Ministry of Planning and Development (National Trust of the Republic of Trinidad and Tobago) - Ministry of Communications (National Archives of Trinidad and Tobago) - Ministry of Community Development, Culture and the Arts 55 GOALS OBJECTIVES STRATEGIES AGENCIES RESPONSIBLE Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.

x.

Promoting awareness heritage throughout the primary and secondary schools curriculum and extra-curricular activities.
- Ministry of Education - Ministry of Community Development, Culture and the Arts - Ministry of Planning and Development (National Trust of Trinidad and Tobago) - Ministry of Communications Archives of Trinidad and Tobago) (National xi.

Promoting increased coverage of folk and in a variety of indigenous material formats.
- Ministry of Education - Ministry of Planning and Development (National Trust of Trinidad and Tobago) - Ministry of Communications Archives of Trinidad and Tobago) (National - Ministry of Community Development, Culture and the Arts xii.

Adopting policy measures that protect and preserve the nation’s natural beauty and aesthetics (e.g.

the cleanliness and natural beauty of our landscapes- our road ways, rivers, parks and yards).
- Ministry of Planning and Development (National Trust of Trinidad and Tobago) - Ministry of Communications Archives of Trinidad and Tobago) (National - Ministry of Community Development, Culture and the Arts - Ministry of Planning and Development (National Trust of Trinidad and Tobago) - Ministry of Community Development, Culture and the Arts xiii.

Focusing on heritage sites by: a.


Initiating the legislative review of the Act of 1999 of the National Trust of Trinidad and Tobago to provide the Trust with the required jurisdictions, in keeping with international best and principles to practices, its ability to acquire strengthen requisite human, financial and infrastructural support to better protect and serve the heritage sites 56 GOALS OBJECTIVES AGENCIES RESPONSIBLE to legislation STRATEGIES b.
Developing an archaeological policy protect and archaeological sites and artefacts c. Vesting in the National Trust heritage sites such as the Nelson Island and the Five Islands, the Banwari Burial Site and other selected sites for income generation purposes Inspiring buildings by exploring fiscal and other corporate partnership restoration of heritage innovative for incentives d. e. Developing an incentive geared preservation of heritage properties specifically towards regime the Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.
xiv.

Standardising the upgrade and better management of heritage assets and sites in keeping with international standards - Ministry of Planning and Development (National Trust of Trinidad and Tobago) - Ministry of Communications (National Archives of Trinidad and Tobago) - Ministry of Finance - Ministry of Community Development, Culture and the Arts xiii.

Focusing on the documentation and dissemination of information about our cultural heritage and history by: a.
Supporting partnerships among the government, academia and corporate the towards sector documentation of the genius and impact of the work of cultural legends b.
Supporting the establishment of grants and endowments at the universities focused on documenting aspects of our cultural heritage, for example the writing of an indigenous history of Trinidad and Tobago 57 GOALS OBJECTIVES AGENCIES RESPONSIBLE c. Establishing STRATEGIES grants to special facilitate engagement in heritage projects including but not limited to the Eric Williams Digital Collection; the Calypso Library and Research Database among others, and to support other innovations in heritage projects Cultural Industries - Ministry of Community Development, xiv.
Support a paradigm shift in local tastes and appetites by incorporating the “buy local” message into media advertisements incentive programs so as to create improved markets for locally produced cultural products and Culture and the Arts - Ministry of Communications Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.

xv.

xvi.
xv.

xvi.

the design Revisiting and management of community facilities to ensure that they can also function adequately as purpose-built centres for the performing arts and for training, production, display and marketing of cultural products Providing permanent spaces and for marketing and opportunities display of local craft.

- Ministry of Community Development, Culture and the Arts - Ministry of Community Development, Culture and the Arts 2.
Support artists, entrepreneurs and industry associations in the production of high quality output.

integrated facilitate a.

To platforms nurturing for excellence among developing them artists and propel xvii.

The Arts - Ministry of Community Development, Seeking out embryonic and emerging artists and cultural practitioners through talent searches, community Culture and the Arts 58 STRATEGIES AGENCIES RESPONSIBLE GOALS OBJECTIVES toward thriving careers in the arts.

xviii.

xix.

xx.

xxi.


and vacation programmes arts cultural camps.

Promoting training in the business of marketing, entrepreneurship, monitoring and evaluation, and financial management, including applications for grant funding, for cultural organisations.

internship, training, Providing research documentation and opportunities for different levels of artistes.

Providing incentives for innovation in the arts and festival development and management.
artists’ Facilitating careers, and adoption of standards and a decent cultural work entrepreneurs.

development sustainable agenda the for Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.

xxii.

collaborations Encouraging and partnerships among artists, arts for organisations and audiences sector cohesiveness and to bolster an arts ecology.

The Arts xxiii.
Using cultural activities as inclusive the mechanisms and development support special to of 59 - Ministry of Community Development, - Culture and the Arts The National Entrepreneurship Developmen t Company Limited (NEDCO) - Ministry of Community Development, Culture and the Arts - Ministry of Community Development, Culture and the Arts - Ministry of Community Development, Culture and the Arts - Ministry of Labour and Small Enterprise Development - Ministry of Community Development, Culture and the Arts - Ministry of Community Development, Culture and the Arts - Ministry of Social Development and Family Services GOALS OBJECTIVES STRATEGIES AGENCIES RESPONSIBLE vulnerable groups including women, men, youths, boys and girls and persons with disabilities - Office of the Prime Minister (Gender and Child Affairs) Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.
Cultural Industries - Ministry of Community Development, Culture and the Arts - Ministry of Foreign and CARICOM Affairs - Ministry of Community Development, - Culture and the Arts The Organisation of Trinidad and Tobago National Export Facilitation xxiv.

Support excellence in product/service development by providing local and foreign training/investorship/internship opportunities to ensure production of and cultural exceptional services.

goods xxv.
goods xxv.

Promote the production of high quality indigenous and local craft by: a.

Establishing permanent, state of the art facilities for artisans at ports of entry (air/cruise ship) research b.
Supporting and development for best practices and process mechanisation to make indigenous craft more internationally competitive c. Mandating cooperative arrangements between the Export Centres Company Limited (ECCL) and The National Export Facilitation Organisation of Trinidad and Tobago international (Export TT) towards market penetration 60 GOALS OBJECTIVES STRATEGIES AGENCIES RESPONSIBLE Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.

xxv.

xxvi.
xxv.

xxvi.

Grow the local fashion industry by promoting the fashion industry as a for young viable career option professionals.

Encourage expansion of the local through industry publishing encouraging the development of literary festivals The Arts xxvii.

the review of Facilitating the incentive regime for the informal sector with a view to ensuring that it is relevant and empowering.
- Ministry of Trade and Industry - Ministry of Public Administration (The National Library and Information System) - Ministry of Community Development, Culture and the Arts - Ministry of Trade and Industry - Ministry of Planning and Development xxviii.

Incentivising greater involvement of the private sector in support for the nurturing of young talent.

- Ministry of Community Development, Culture and the Arts - Corporate Sector b.
To improve institutional arrangements for identifying and exploring business opportunities for marketing and exporting competitive cultural goods and services.

xxix.

Penetrating international markets.


regional and - Ministry of Community Development, Culture and the Arts - Ministry of Tourism - Ministry of Foreign and CARICOM Affairs - Ministry of Community Development, Culture and the Arts - Ministry of Tourism - Ministry of Community Development, Culture and the Arts - Ministry of Tourism - Ministry of Trade and Industry xxx.

xxxi.

Enabling the production of cultural goods and services for the global marketplace.
Enabling the production of cultural goods and services for the global marketplace 61 GOALS OBJECTIVES STRATEGIES AGENCIES RESPONSIBLE Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.
Cultural Industries - Ministry of Community Development, Culture and the Arts - Ministry of Trade and Industry - Ministry of Planning and Development - Ministry of Trade and Industry - Ministry of Foreign and CARICOM Affairs and its overseas missions - Ministry of Community Development, Culture and the Arts - Ministry of Community Development, Culture and the Arts - Ministry of Tourism - Ministry of Trade and Industry xxxii.

xxxiii.

xxxiv.
the including indigenous Encourage targeted and creative the business models, cooperative business model, as a means of inclusive and dynamic growth in the sector Pursue market opportunities for cultural goods and services through the Ministry of Trade and Industry and the Ministry of Foreign and CARICOM Affairs and its overseas missions Institutionalise cultural tourism product by: a. Mandating partnership among of Tourism, Trade and Industry and Community Development, Culture and the Arts to provide facilitative the infrastructure the development and for marketing of a comprehensive calendar of events to provide a holistic tourism experience for international, regional and local tourists Incentivising corporate partnership in the staging of such events the Ministries b. a 62 GOALS OBJECTIVES STRATEGIES AGENCIES RESPONSIBLE Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.
xxxv.

Encourage strategic development of the indigenous music industry by: - Ministry of Trade and Industry - Ministry of Community Development, Culture and the Arts a.
Facilitating synergies across the industry ecosystem for, music inter alia, the development of: - - - Industry guidelines including the determination of standard rates for services Incentives aimed at increasing the percentage of local music played on radio stations Strengthening and expanding efforts at providing training and support to innovations in music education as well as steel pan music composition and arranging xxxvi.

Grow the local film industry by: a.


Strengthening the Production Expenditure Rebate Programme to increase client confidence in the programme b.
Marketing location T&T in the international arena as a viable option for international products - Ministry of Trade and Industry (Film TT) - Ministry of Tourism - Ministry of Community Development, Culture and the Arts 63 GOALS OBJECTIVES STRATEGIES AGENCIES RESPONSIBLE - Ministry of Trade and Industry - Ministry of Community Development, Culture and the Arts Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.

xxxvii.

Grow the local fashion industry by: a.


Broadening and deepening individual market access for firms of all fashion industry sectors through partnerships and targeted involvement in international trade shows b.
Promoting organisational and operational improvement of companies with a proven track record sector by the provision of capacity building programmes at different levels tertiary through established institutions in c. Aligning local industry activity with international market international cycles and key events and at the same time maximising integration the possibilities of the local sector d. Promoting the fashion industry as a viable career option for young professionals 64 GOALS OBJECTIVES STRATEGIES AGENCIES RESPONSIBLE Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.
The Arts - Ministry of Trade and Industry: (Export TT, xxxviii.

Supporting the creation of foreign Music TT, Film TT and Fashion TT) - Ministry of Community Development, Culture and the Arts local cultural entrepreneurs markets for through the Export Centres Company Limited and Export TT, Music TT, Film TT and Fashion TT c. To encourage local and regional industry associations and to networks ensure that current information and cutting edge technologies are the used in of production high quality outputs.
xxxix.

Creating regional and international - Ministry of Community Development, artist networks with a view to growing the creative economy Culture and the Arts - Ministry of Trade and Industry: (Export TT, Music TT, Film TT and Fashion TT) - Ministry of Foreign and CARICOM Affairs and its overseas missions Cultural Industries - Ministry of Community Development, xl.

Partner with tertiary training institutions to provide training in artist management and management of cultural industries.
Culture and the Arts - Academic institutions xli.

Encourage networking and among cultural industries.

xlii.

Create networks of skilled producers for product sharing and knowledge innovation.
65 linkages - Ministry of Community Development, Culture and the Arts - Ministry of Trade and Industry - Ministry of Community Development, Culture and the Arts - Ministry of Trade and Industry GOALS OBJECTIVES STRATEGIES AGENCIES RESPONSIBLE Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.

xliii.

Facilitate discussions within the sector with respect to the use of artists’ guilds as mechanisms to promote equity, decent work, quality management.
standards and - Ministry of Community Development, Culture and the Arts xliv.
Support the maximisation of the use of - Ministry of Community Development, Culture and the Arts - Ministry of Public Administration the digital environment through: a. engaging relevant stakeholders to support the development and implementation of a road map that will guide the expansion, marketing, dissemination, greater production and utilisation of cultural goods and services in the digital domain b. engaging in initiatives geared towards improving digital literacy to ensure access to diverse digital content to empower local actors.
3.

Establish and integrated framework cultural sector.

sustain an institutional the to support a.

To that the facilitate enactment and review of legislation will enabling support an environment the for growth and development of cultural practitioners in the local, regional and international arena.

our The Arts xlv.
our The Arts xlv.

Ensuring a facilitative the legislative environment with required operational infrastructure that supports resolution of issues such as local content, intellectual property, financial support for the sector, and removal of archaic legislation affecting the sector.

- Ministry of Community Development, Culture and the Arts - Ministry of Attorney General and Legal Affairs 66 GOALS OBJECTIVES STRATEGIES AGENCIES RESPONSIBLE activating xlvi.
Grow the local film industry by enforcing Trade and Agreements44 (or and strengthening) legislation to underpin the activities of the Film Industry (e.g.

filming permits, local content, and film law) creating existing - Ministry of Community Development, Culture and the Arts - Ministry of Trade and Industry: (Export TT, Music TT, Film TT and Fashion TT) Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.

xlvii.
xlvii.

Facilitating the review and revision of - Ministry of Community Development, Culture and the Arts - Ministry of Attorney General and Legal Affairs in the the Art and Culture Allowance Corporation Tax Act with a view to expanding rebate options associated with the literary arts and other sectors as well as simplifying the procedures required of artists and the corporate sector b.
To the encourage articulation of policies, co- ordination of programmes and the establishment and functioning of institutional arrangements that provide effective support for the work artists, of entrepreneurs and industry organisations.

The Arts - Ministry of Community Development, xlviii.

Establishing formal linkages between Culture and the Arts and artistes, institutes, local arts government agencies to development of policies and initiatives for the growth of the cultural industries.
streamline the 44 (Agreements such as: ATA Carnet, Economic Partnership Agreement provisions for Cultural and Creative Development—refer to Protocol III on Cultural Cooperation) 67 GOALS OBJECTIVES STRATEGIES AGENCIES RESPONSIBLE xlix.
Facilitating the development of policy guidelines and measures to guide children’s participation in and protect children from exploitation in artistic and cultural activities - Ministry of Community Development, Culture and the Arts Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.
- - The Ministry of Planning and Development (Central Statistical Office) The Ministry of Community Development, Culture and the Arts l. to produce The collecting of cultural statistics through the development of a proper structure, mandating governance entities that receive government subventions robust reporting on their operations and spending activities.
This structure should facilitate collaboration and the Central coordination with Statistical Office and other relevant Ministries and to produce data for the cultural sector and to inform policy stakeholders Cultural Industries - Ministry of Community Development, li.

Support the mainstreaming of standards.

enforcement and Culture and the Arts lii.

Create the institutional architecture for co-ordination and collaboration among cultural industry stakeholders at strategic and operational levels.
- Ministry of Community Development, Culture and the Arts liii.

Champion the of Intellectual Property laws and regulations as a fundamental mechanism enforcement (IP) - Ministry of Attorney General and Legal Affairs 68 GOALS OBJECTIVES STRATEGIES through which cultural workers and businesses can generate value from their creativity.

liv.
liv.

Encourage expansion of local publishing industry through introducing and enforcing standards for publishing the AGENCIES RESPONSIBLE - Ministry of Community Development, Culture and the Arts - Ministry of Public Administration (The National Library and Information System) Theme 2: Harmonised and strengthened cultural environment as an enabler of cultural growth.

c. To enhance sector leadership in decision- making and management of cultural resources.

liv.
liv.

Supporting private and corporate efforts to market and distribute cultural goods and services - Ministry of Community Development, Culture and the Arts lv.

Mandate the collection of local cultural statistics in keeping with international (UNESCO) standards for use in policy- making.
- Ministry of Planning and Development (Central Statistical Office) - Ministry of Community Development, Culture and the Arts 69 Institutional Arrangements for the Implementation of the National Policy on Culture & the Arts Annex II Technical Forum on Culture and the Arts PURPOSE The main institutional arrangement for growth and transformation shall be the Technical Forum on Culture and the Arts.

This mechanism is designed to rationalise the actions of various state actors within the Culture Sector.
Its main purpose shall be to: 1.

Harmonise the institutional framework of state agencies working in the Cultural Sector.

2.

Clarify the roles of each stakeholder in the implementation of the NPCA.

3.

Ensure an intimate understanding of and synergies across the contributions, issues and needs of those various parts of the ecosystem.

4.

Become a platform for information-sharing and collaboration.

5.

Reduce duplication and redundancy in projects undertaken by these institutions.

6.
6.

Monitor the implementation of the NPCA by stakeholder agencies.

1.

To review and finalise its Terms of Reference 2.

Develop a work plan outlining the annual activities of the TFCA MANDATE 3.

Guide the implementation of the NPCA through Technical Working Groups including but not limited to the four (4) sub-sector areas: a.

The Culturally Confident Citizen b.

The Arts c. Heritage, Memory and Legacy d. Cultural Industries 70 4.
To facilitate and oversee the development of a larger strategic plan for the development of the cultural sector 5.

To facilitate the design and implementation of a campaign to raise awareness regarding the NPCA and its strategies 6.

To cause to be prepared biannual reports on the progress of its activities.

MEMBERSHIP The Committee shall comprise 25 members with representation from: a.

Culture Department, Tobago House of Assembly b.


Culture Division, Ministry of Community Development, Culture and the Arts c. Ministry of Education d. Ministry of Tourism e. Ministry of Trade and Industry f. Ministry of Planning and Development g. Ministry of Public Administration and Information h. National Archives of Trinidad and Tobago i.

National Carnival Commission j.


National Libraries and Information Services k. Ministry of Rural Development and Local Government l. National Museum and Art Gallery m. National Trust of Trinidad and Tobago n. Trinidad and Tobago Bureau of Standards o. Tobago Festivals Commission p. University of the West Indies q.

University of Trinidad and Tobago r. National Training Agency s. COSTATT t. University of the Southern Caribbean u.

Intellectual Property Office 71 v. Creative TT w. Film TT x.

Fashion TT y.
Fashion TT y.

Music TT The Committee is to be appointed by the Ministry with responsibility for Culture and approved by Cabinet.

In the same vein, the Chair and Vice-Chair will be determined by the Ministry.

OPERATIONS 1.

The Technical Forum on Culture and the Arts comprises 25 persons and shall meet quarterly or as determined by the Committee to a maximum of 12 meetings per year 2.

Meeting venues are Ministry venues (come at no cost) 3.
Members shall represent their organisations in their personal capacities for a two-year period.

Alternates will not be entertained 4.

The TFCA, acting in collaboration with the MCDCA shall coopt members as necessary based on expertise.

The Committee may also review its membership 5.

Stipends to TFCA members will be determined by the Ministry of Finance (MoF) and approved by Cabinet.
62/02/001/66 Hosting of Conferences, Seminars & Other Functions [170,000.00] ESTIMATED EXPENDITURE & SOURCE OF FUNDS SECRETARIAT Technical and Administrative Support shall be provided by the Culture Division and the Policy Unit of the Ministry with Responsibility for Culture.

72 Implementation Schedule Year 1 ACTION Dec. 19 Jan. 20 Feb. 20 Mar.

20 Apr.

20 May 20 Jun.

20 Jul.
20 Aug. 20 Sept. 20 Oct. 20 Nov 20 Seek Cabinet’s approval of NPCA as Green Paper Publish Policy on Social Media for Public Comment (1 month) – Seek Comments from selected stakeholders Assimilate Comments and Revise NPCA Seek Cabinet’s approval of NPCA as White Paper Publish and disseminate the National Policy on Culture and the Arts Prepare brief on issues for determination by Heads of Ministries and Agencies to be represented on the Technical Forum on Culture and the Arts (TFCA) Issue instruments of appointment and convene Technical Forum on Culture and the Arts (TFCA) Sensitise TFCA and relevant MCDCA staff on their operational roles Establish and mandate sub-Committees to guide and oversee sub- sector recommendations Develop Monitoring plan for implementation of NPCA across Ministries and Government Agencies 73 Annex III International and Regional Policy Frameworks, Treaties and Conventions Trinidad and Tobago is party to major international conventions, treaties and agreements in the sphere of cultural and natural heritage.
These include: - Revised Treaty of Chaguaramas including the CARICOM Single Market and Economy - Charter of the United Nations - Constitution of United Nations Educational, Scientific and Cultural Organisation - Universal Copyright Convention - Berne Convention for the Protection of Literary and Artistic Works - Convention Concerning the Protection of the World Cultural and Natural Heritage - Convention on the Protection and Promotion and Diversity of Cultural Expressions - Convention for the Safeguarding of the Intangible Cultural Heritage - Convention on the Protection of the Underwater Cultural Heritage - - International Covenant on Economic, Social and Cultural Rights International Convention on the Elimination of All Forms of Racial Discrimination - Declaration of Commonwealth Principles - Harare Commonwealth Declaration - Millbrook Commonwealth Action Programme - Charter of the Organization of American States - RAMSAR Convention on Wetlands - World Intellectual Property Organisation (WIPO) Copyright Treaty - WIPO Performances and Phonograms Treaty 74 Annex IV Model for Decision Making and Allocation of Resources The NPCA seeks to promote a nuanced approach to dealing with the sector by identifying the various levels of artists, practitioners and cultural entrepreneurs that make up the sector and their peculiar needs.
It categorises the artists, practitioners and creative entrepreneurs into three (3) main stages of development, namely (1) embryonic, (2) emerging and (3) established as shown in Figure 1 below.

The primary purpose of this model is to clearly illustrate the different needs that exist in the creative economy associated with the various stages of development, and the policy implications.

a.
a.

The first segment - embryonic practitioners - refers largely to students, that is, persons who have recently been introduced to a craft or art form and usually devote a considerable portion of their time learning about the specific subject or art form or to refining their skills.

b.

The second segment - emerging practitioners - refers to persons who, having learned an art form or skill, have recently begun to explore different fora and platforms to display, exhibit or perform their work.
They are largely seeking to gain exposure, define their brand and establish their presence in the marketplace.

c. The third segment - established practitioners - refers to persons who have already gained a fair amount of performative or industry experience and are seeking to leverage this to advance professional careers or commercial objectives.
75 Figure 1: Model of the Classification of Artists, Practitioners and Cultural Entrepreneurs in the Cultural Economy N.B: the diagram only serves to provide examples – it does not seek to provide an exhaustive account of all facets of the Cultural Economy.
This categorisation is informed by the understanding that participants in each of these areas require different levels of service and support, even as they each operate in the same ecology and want the same financial and symbolic values attached to their work.

The model then assigns the role of the State to four (4) headings: a.

People – this refers to the needs of the specific demographic or population being served b.
Profit – refers to activities that aim to facilitate business development and the commercial activities of cultural practitioners and cultural entrepreneurs c. Policy – refers to the form of government facilitation or activity required to support the development of cultural practitioners and entrepreneurs d. Places – refers to the spaces required to facilitate the artistic and business development of cultural practitioners and cultural entrepreneurs.
76 The model is therefore concerned with the ways in which services offered by the state can be optimised for stakeholders.

It illustrates as an example, one way in which the development of cultural industries could be facilitated, that is, by optimising the training of students as well as the export of goods and services by established practitioners.
It proposes that this approach to conceptualising and organising the cultural sector will constitute a more harmonised approach and will yield more tangible, effective and efficient programming.
77 Annex V Acknowledgements Members of the Technical Working Group who volunteered expert advisory services in the formulation of this policy: Ms. Ingrid Kemchand, Ministry of Education- Modern Languages, Curriculum Development Division Mr. John Arnold, MusicTT Mr. Keegan Taylor, Bois Academy of Trinidad and Tobago Dr. Keron Niles, formerly of the Ministry of Planning and Development Economic Development Advisory Board, currently at The University of the West Indies, Institute of International Relations Dr. Marsha Pearce, The University of the West Indies, Faculty of Humanities and Education, Department of Literary, Cultural and Communication Studies Mr. Navneet Navin Boodhai, formerly of the University of Trinidad and Tobago, currently at The University of the West Indies, Engineering Institute Dr. Ralph Henry, Kairi Consultants Ltd Dr. Rudolph Ottley, University of Trinidad and Tobago, The Academy for Arts, Culture and Performing Arts Dr. Suzanne Burke, The University of the West Indies, Faculty of Humanities and Education, Department of Literary, Cultural and Communication Studies Mr. Steve Jordan, Ministry of Planning and Development, Economic Development Advisory Board Division of Tourism, Culture and Transportation, Tobago House of Assembly (THA) Ms. Glenda Rose-Layne, Coordinator for Culture Mr. Jesse Taylor, Culture Officer II Other staff of the Division of Tourism, Culture and Transportation Key Informants Ms. Avril Belfon, Archivist, National Archives of Trinidad and Tobago Mr. Babu Ketema, Artist, Studio 66 Art Support Community 78 Mr. Deoroop Teemal, President, National Council of Indian Culture Dr. Earl Lovelace, Writer, Literary Arts Dr. Gillian Paul, President, College of Science, Technology and Applied Arts of Trinidad and Tobago Mr. Keegan Taylor, Bois Academy of Trinidad and Tobago Mr. Kenwyn Crichlow, Artist Mr. LeRoy Clarke, Chief, Master Artist and Trinidad and Tobago National Legend Ms. Margarete Mc.
Dowall, Chair of the National Trust of Trinidad and Tobago Mr. Mikel Alexander, Two Cents Movement Mr. Mohammed Muwakil, Artist Professor Patricia Mohammed, The University of the West Indies, Director of Graduate Studies and Research, Dr. Patricia Dardain-Raqquet, Director of Holistic Primary School Dr. Pearl Eintou Springer, Mentoring by the Masters, Literary Arts Dr. Rampersad Parasram, National Council of Indian Culture Mr. Ravindra Nath Maharaj (Ravi Ji) Chief Ricardo Bharath-Hernandez, Chief of the Santa Rosa First Peoples Community Mr. Richard Rampersad, Indian Cultural Activist /Artist Ms. Roma Wong Sang, Senior Archives and Records Officer Ms. Sonja Dumas, Performer, Choreographer, Writer and Arts development Consultant Ms. Valarie Taylor, Independent Consultant Ministry of Community Development, Culture and the Arts – Staff on Special Assignment Ms. Arlene Holman, Advisor to the Minister of Community Development, Culture and the Arts Ms. Sharon Bradshaw, Senior Policy Specialist (Service Provider) Culture Division Staff Policy Unit Staff 79