A CRITICAL ANALYSIS OF 2 DECADES OF TRINIDAD & TOBAGO CULTURAL ACTIVISM Pt 1 with Rubadiri Victor



thanks all of you all for coming out here on this night with the small and introductions and the invitation that was sent out i am happy it reached who have it reached and that you came out here to be I'm really surprised by some of the those over here and I'm very pleased by the gutter and of you know the kinds of people who are here that's really reason why I'm doing this I actually wanted to do this for the last two years when a black box had this thing with a Afra and they'd open it up and they said you know good who going to do next and I said you know I wanted to do it because a couple reasons one you know we shouldn't have you kind of in a sense of process and lineage of causation how things happen what caused what what caused what what caused what to end up with whatever we have in front of us know so without that sense of course they show me we end up being superstitious you know so this thing is I guess because X and some kind of whatever whatever when no they you know there's there's a lineage and a causation towards those kinds of things and for me especially in the world of NGOs trade unions I'm pretty progressive movement because I inherited stuff from two generations before me and I was only because I forced them to speak and sat down at their feet and it kind of shook things off from the tree I kind of understand the necessity for institutional memory and for apprenticeship and for passing on information and those kinds of things so you know the act website is an open source website most of the documents that we've generated all those things throughout the or two decades of our stuff it's all there you could pull down all kinds of things I mean you could see the cut and thrust of all kinds of stuff the documents are all there but there's more grist to the mill in in terms of what happened and it's really really essential that people understand you know you know activism has become a kind of pretty word that people throw around all kinds of people are activists and you know I mean I've witnessed people actually die back to the Somme in Trinidad you know I could say that you know it's very serious business and you know the things that we won were won a great great great cost and but we need to understand strategies that we utilize to win those things those things didn't just happen didn't just fall from the tree they were result of all kinds of different processes and strategies and those kinds of things there all kinds of things is now telling someone said as a sign of every single program that is operating in the creative industries right now is an act program it's off that operated in the Ministry of Trade and sheer planning inside a Ministry of Arts I will say about 90% 85% of them but our fingerprints are nowhere on the only the procurement document if you want to call it that that room in the front smeller you know so the thing is um I think is exactly important that we understand the what happened and how it happened and those kinds of things so it's also important that you know groups are transparent with what we've done in all different aspects of hope we done it successes the failures the mistakes all those different kinds of things we have to be we have to be very very clear about those things and we have been inside our circles and stuff but we want to put that information out this is very very very important that we understand these things so I just wanna let's jump yeah you filming just take pictures because they're gonna do that reading is there so because now we gonna jump into the right so this is I'll just jump straight into it you have a lot to cover I had apologized earlier on we were supposed to have projector PowerPoint etc etc the cords these connections and aren't working with the laptops so focus it's not it's not incredibly important you see but to see and read everything but so many things might jolt something who is slide yeah right so just to have a context of Trinidad you know I'd normally like to start with this slide you should be seeing Carlisle Chang's inherent nobility of man that Miro yeah right so Chuck Carlisle Chang one of our you know three or four months the artists real master artists you know created this mural it was inside the PR coup Airport he brought dong imported stones to do it on and all those different kinds of things and the politicians of the day said they want you to move their wall whatever I kind of Stephanie when a destroyed this was at the time this was kind of a culmination of a certain language of Trinidad arts and all those different kinds of things this is a culmination is a massive mural shaking up like this before here a dump of architects engineers artists came forward said that they could move this move the mirror without any problems but no the minister is decided he would sit down any buckle himself to destroy right the metaphor for the destruction of the inherent nobility of man is something else Caudill is gonna run through the artistic community for generations as a kind of a kind of marker of the way that the states and this song kind of deals with its creative self its creative soul and it's you know it's higher self so I just put that there as a kind of way to frame the discussion so next slide right so I need to set a context right there's a global right now for the last 28 years there's been a global creative industries revolution right a creative economy revolution the creative industries and all the second largest industries on planet Earth they're making 2.2 trillion dollars a year it has been the growth economy of the last 20 years it is what a lot of economies are using to transform themselves into service led economies so they're leading with the creative the kind of re-engineer and reject cities in the streets communities all kinds of things the jump-starting to the next level they're using it as a way for as a kind of steroid for tech and IT right the kind of grow as fast as it could to the next level in terms of its incubation times in terms of creating products and it's incubation in terms of consumption innovation and those kinds of things the UK has been making 230 point 4 million pounds a day when you created economies right that's the 2016 figures right that's two point three billion TT a day with the creative economies local content regimes are now the norm in more country's right 35 percent as much as 85 and 95 percent local content on radio and television Nigeria is 95 percent people are understand that it's the only way that you could have proper broadcast industries and people are going tell me that that streaming and cable we know there's a golden age of TV going on right now content is king all kinds of marginal people's are being able to get to the center on screen simply because of the amount of content that is necessary for these mega corporations that are battling for people's eyeballs and that kind of stuff to win communities and win eyes and win stuff like that and this is a massive massive change in terms of consumption of television yeah blockbuster movies which are smothering small affair but TV is not an option for marginalized people digital music's up ended the mana of the monetization of the record industry any music industry most of the money has moved the performances because artists and stuff can't make money and and labels can't make money by printing records or CDs or those kind of thing and they can't monetize online so they have to find other ways one of the things that has facilitated is arising multi-million dollar artists where artists are brands and themselves and they therefore have direct contact with their marketplaces and they are using merchandise and performance events and all those different kinds of things to monetize that relationship and monetizing value of their brand right so next slide some of the UK's figures ninety one point eight billion dollars a year right CIT and sofa three and four thirty four that's thirty four billion seven hundred and four million right there are gaming companies bigger than oil and gas companies right Batman Arkham Asylum I think it's bigger than BP right and as always do is that one video the world is not what we you know we still here with lawyer doctor you know them kind of things that the world doesn't function and not mood anymore right we are 20 years behind the time in some ways right should all kinds of other things are happening global leaders the rise of the heritage of museum gallery complexes most signature buildings and most nation states and communities you know beautiful galleries and museums and those kinds of things visual arts is not multi billion dollar industry with the one percent is storing their wealth and it's inside the arm in in visual arts and what is something is interesting is that the margins so which was it was once dominated by Western European art and then we're an American modern art but the margins are now storming the Bastille so you have African nations Asian nations Middle Eastern nations Latin Americans are not gonna stuff storming the the mainstream galleries and mainstream museums and those kinds and cannons and those kinds of things and with that storming ideas because the museums and those kinds of things are where a lot of ideas of the status quo are kind of held you know held firm and held in in amber as sacred and those kinds of things and those things are not being challenged by this storming of the Bastille by these white imagines of course we are not anyway in any of these conversations right so are you been used to transform cities by creating creative hubs yeah the whole transformation of Miami the rebranding of Miami in turn an art city and a city of luxury brands and all those different kinds of things and mammy created Art Basel Miami simply Miami really know what Miami lawn does drugs and Miami's a specific kind of economy you know is a strange kind of of America and economy offshore all kinds of different kinds of things up in Miami right you drive it wrong Miami you're wondering where's the industry where's industry happening in Miami all right so here's a lot of offshore money in Miami that makes I am a food but it wanted a way they realized that with 91% stood on the visual arts this multi multi-billion dollar industry and be not in the game at all so they looked at the coolest time of the year and they said all of these the major brokers and stuff are in the colder climes let's choose the coldest part of their year and bring them and set up a pool an art market at that time and we offer sun sea sand sex etc whatever those kinds of things and so said so done right so right now Miami mints about billion plus for three days a hundred thousand unique visitors for that weekend for that for that long weekend and they have transformed entire communities into luxury brand districts into a gallery districts and those kinds of things in tears from high-end medium and low-end galleries and those kinds of things and you know so did you know they they found a way to monetize that and bringing a new kind of tourists into Miami year-round right at the Perez museum their whole set of museums are set of destinations right so it's a period of unprecedented innovation invention and experimentation right and it is the arts that is leading it the arts is as I said is the petri dish that IT and tech and all these people are loading front loading that stuff into that diving in throwing it into the marketplace where it is bouncing up with competition and where the consumption and and the innovation open sourcing and our kind of stuff is speeding up the rate of innovation and experimentation right there okay the million dollar events people are monetizing heritage at an extraordinary rate across the planet people are understanding the weight and value of heritage and stuff you have things like it tomorrow festival in in in Spain is in Spain and they are bringing in like a hundred thousand visitors and not gonna sub that's forty thousand more visitors than us for Carnival this is the tossed tomatoes right Prince is still in the game and you have things like Harry Potter and those kind of things to thank for that at the time when they said it print looked like it was going out and that kind of thing books like Harry Potter and was kind of thing revitalize the prints and the screen all right Harry port itself for grant of just under twenty thousand pounds from the Scottish Arts Council Harry Potter you know when she was a broke unemployed teacher JK Rowling's has contributed over thirty five billion dollar poms city to the UK economy right from a twenty thousand pong investment right that is the power of incubated funding grant funding these kinds of things retail has move online we've seen the destruction of big retail brands and those kinds of things every time you go to a major metropolitan entropolis is like New York and I kind of stuff a whole set of your old brick-and-mortar places I no longer there everything has move online the game has change right C up things like it will Bilbao Guggenheim Frank Gehry as I said signature projects all these kinds of things are happening now this is a two point two trillion dollar industry right who are we in all of that but who are we fundamentally right there's a a quote that I always use in talking about Trinidad to kind of paint a picture to strangers and do is familiar Trinidad and Tobago is a twin Island Caribbean Republic of just 1.3 million people sick and a dot on the world map yet it has produced more than 150 will cords more than 100 we'll take lists panorama human firsts a bevy of world geniuses and letters sports science and the arts a warehouse of InTouch international awards ranging from Oscars Grammys Emmys tourneys the Nobel prizes Commonwealth book prizes Bollywood Oscars and more a diaspora bangla talent and one of the richest creative cultures in the world nearly unparalleled in the history of mankind in the length and breadth of its mythologies iconographies and Fukuyama's TNT has also given the world Calypso the steel band a limb born over 300 Trinidad style carnivals the two largest gatherings in the Western world atrani style carnivals not in Allen Brooklyn which at their height over 4 million people on the streets 4 million people – black people get together on the streets in those cities and it's cause for police action we have 4 million is for to spin did that we did that no public sector nope no public sector private sector did that we the people did that that is the power of Trinidad and Tobago people right 4 million people billion dollar economy this is a 15 billion dollar annual in the streets the carnivals worldwide this is all figures from 2014 calypso is one of the ten core musics of the world one of the oldest recording industries in fact Mongo where the first Calypso recording is the only non-american song that is inside the time capsule Elizabeth Sounion have and whenever Trump destroys the planet nuclear holocaust what the cockroaches and aliens will find in that thing the only non-american song is a Calypso its Mongo bare by love is band who's Calypso ever recorded a hundred and seven years ago none of this legacy is visible in Trinidad and Tobago not in its architecture institutions curricula not in monument's known it's not in its media not in the public utterances of its leaders not know in its civic and public spaces it as it is as if this legacy has never existed I could have grabbed any one of about 500 people places objects and things and thrown them there and it would still result in a billion dollars plus in genius so they have CLR James one of the great minds of the 20th century Jeffrey colder protein Renaissance artists first black man to win 20 awards had a Headley who people like Elton John a number singers call a sink B singer singer Steve Stoute from Livan T who is the one who brokered hip hop into becoming a billion-dollar multi-billion dollar industry by connecting mainstream brands and stuff with hip hop artists and stuff he is the brook of those things cool Primus the mother of african-american dance died a lien with the mother of modern Chinese dance the Kiska D true killer in vida all of them they're the creation of the modern calypso form min shell at that's in Greece the genius of Lyra Clarke the genius of Le Monde at look at the crowd they on that Street those are the four million are standing about in Brooklyn Nicki Minaj the most successful hip hop artists in fact III three of the most successful hip hop artists are all Trinidad and Tobago female sucks you know that's cardi B Foxy Brown Nicki Minaj right and the oil kind of a similar coos owners and that kind of stuff which kind of says something about Trinidad and Tobago is Jonathan ur energy and and that kind of thing Harry Belafonte's Calypso the first platinum album on planet Earth it beats Elvis Presley's things rock and roll and Calypso were jostling but for about 15 years to be the next pop culture of the states after after jars more than 50 something 60 something Calypso movies all kinds of Calypso albums by popular singers at the time all those different kinds of things and Belafonte beats this which calypso music Ben Lewis platinum albums and planetís Brian Lara who's there as artists as well as sportsmen Stokely Carmichael one of the great liberation leaders of the last century but who coined the phrase black power and and gives an aesthetic component and contagious component to the culture of that revolution that vents those on to transform in people's in metabolizing people's heads right so more so that said that that's us is this genius beyond compare when people grow in our only truck in Olympics years here people with subcontinent's and stuff well so and so you see them here still looking for their first medal at the games we just get vex when men do get gold or over tea well you know when he says wow that's what he I mean we so we get so we expect you know mean but that expectation is kind of ridiculous for but because we are boxing so much above our weight class that you know but again as I said early on we lack process which was the kind of beauty of a – because our – was the person who taught by talking taught the nation process you know people whose I get Cowan and he's like no no no what I'm going to do is I'm going to do this in my training routine whatever whatever I'm going to add point zero one per seconds and that kind of stuff and it's gonna take half a month and then I'm gonna train whatever whatever not gonna stop and think and by December I'm gonna be much any x or whatever whatever all the time and he schooled us I mean you know it was I remarkable he's a remarkable individual for that you know he schooled the administration his school them into rewarding his D and rewarding all the oil all wool met all medalists and those kinds of thing and school them into you know programs and setting up coaching programs and those kinds of things because what I'm talking about his process lineage rindy things don't happen just like that right every single gain has been done through all kinds of strategies and we have to be clear about what what do is have been so okay the creative scene in Trinidad and Tobago so first of all we live in an economy that has spent 2.2 trillion dollars of public money in the last two decades right so let's just get that clear that's public money we ain't talking about the drug money right we ain't talking about private money whoever public ports to food trillion sorry sorry sorry sorry sorry sorry I say that 2.2 trillion economy has passed us by but we have spent more than a trillion dollars as a people in harmony in the last in the last two decades 1.3 million people we should not even have a middle class right our argument should be real the front you know as always tell people say we should be arguing about who Lamborghini everybody car the same color amber Guinea because when we park outside like I find my Lamborghini everybody from D who should've already LeBeau Guinea and then from Europe you know I mean that should be our problems but not where we are right now with the amount of well that is pass through here so according when act we did like a deep dive this is around probably about 78 years ago insert kind of doing fine out you know there are a lot of studies that have been done in Trinidad about the arts and what vanHoose can attain conducted by universities and as follows whatever whatever and what we know as artists and as activists is that those things are not worth anything because no artist tells any of those people the truth about income outflows nobody right but we decided we needed to do we needed to find out because we knew the figures right so we said okay let's let us do these cameras it's a lonely figure that you hear me speak about us going through our processes of using in the data that we captured on the ground not only about some of how we did some of that already well according to auditor that time they were about 10,000 active artists in Trinidad these are people who say that they're artists and that's what they see themselves as what they identify themselves as and they workers know they might work some of them might work another job or not kind of stuff but that's not who they see their selves as right they see themselves as artists when datak done it is off to the dance and that is the dance is the thing that is what they are about the money from that American inside this thing is to sustain dance practice right and you said about 10,000 people like that in the space right let's bear in mind there are 239 steel orchestras in Trinidad and Tobago right so let's just say on average those 259 orchestras are 30 members during months right and then are we also considered we call all teachers who are teaching drama whatever literature those kinds of things as cretins because those people are within the loop of the creative industry loop that's what they are they're fulfilling that components of those kind of thing a matriculation in the in the things that we do right but these 10,000 artists are surrounded with above between 30 to 50,000 medium to passive artists right so that's about sixty forty to sixty thousand people in the field that you could say are deadly creative doing about that work and that kind of stuff and that all these things let me see generated only time when you switch on the TV and I see people dancing and acting and saying whatever whatever whatever is like somewhere somewhere in the country somebody is working and doing that every time I go to a show I am surprised it's like wow I without any real support somebody learning that Akali dance I mean somebody learning intricate kind of like you know I mean and that kind of stuff and thing I mean you know and innovation on it and those kind of things and I kind of stuff and it's like that is that's who we are that is a terrific kind of obsession there's nothing to explain it you know it's movie as creatives so we don't have any real enablers right for these things to happen right we have a Golden Age generation important piece of elders who have mostly passed on so according again says our historical research 1932 1956 constitutes a kind of golden age a golden is a real rule and agent trinidad and tobago is the concretization of the pan mass calypso we into their modern forms the the ethnic festivals male ethnic secret societies the trade union movement the fine arts movement and it's it's attacked on the world and invasion of the world CR are such and those kinds of things and the beginning of the independence movement it's a very fervent period right so : it's a period where Giants walk be good right if you look at two years outside of it you have normal people walking in the streets and two years in after that point all of a sudden when you look at that same streets every single person that should well you know does so ensue who runs sue and Sue and as same thing who coach and wave and Azam he is in need of thing on Qi she's the one who set up the ayah and that one that is what happened during that period and we said that there seven mother communities where those things mostly came from we look at st. James Wood rook as one we look at princess Tama rugers another one look at kuvasz one a reimers another 1.14 as another one to be a GU as a village and then eSport a spin stretching from foothills of st. Anne's all the way to move are are the tips of San Sawa as the mother of mothers the one where that Juma needs the Holy Trinity upon Mars and Calypso on midwives a whole set of these things into existence and creates that thing that I spoke about which I now have literally hundreds of millions of people's on the streets of the world this thing is so we have this goal in each generation from thirty to fifty six in the 90s because the way that I learned my craft sitting down at the feet of elders and I'm a multimedia artist I we can eat different mediums I was sitting along with a whole set of different sets of schools of people I used to hear things from Ali's elders and and those things and then when they started to die I noticed right I noticed in grab that they were dying and and so that's how I was able to identify that was something called a GU lineage and that more importantly that that generation would most likely be mostly gone by 2012 right that was when I was said by the cutoff point in terms of the majority of that you ever still have stubborn ones Hardy kind of man who like and why I'm not going wrong you know like you know kind of stuff are you still with us and that kind of thing 96 I'm not kind of stuff and still button but by 80s will you would start that you have a massive passing and show enough so we identified this and we identified at were 20,000 VIP elders across all different things in Trinidad's I'm talking about science MA the arts since it's a business in terms of all those kind of things 20,000 LS without which there's no Trinidad and Tobago right you removed their story from the thing and the whole thing for long we are normal country you know a country that never went through a bulan age and so I identified those people as the premium people whose memories and skills we needed to go after right and that kind of contextualized the first part of our activism most of those people are now dead right the last time I did a read we had less than 200 of that cohorts to us the issue was at that time in the early 90s the mid 90s early 2000s you had an under 35 generation that was unprecedented in Trinidad it was 65 percent of the population right people like Chinese Laundry with 96.1 and 98 and one there was any ones who kind of one who when that when they identified that equation because we had the what persisted before and then all of a sudden you had this demographic and who did not speak to that demographic and did not engage with that the language of that demographic flatline and those who leapt and transformed survived right from political parties to you know all kinds of things happened like that are not kind of stuffin thing you know as who like by 19 1996 1997 Chinese origin em was 70 percent of the market right one radio station right at the commode that came out of nowhere you know and this at all radio 103 you Trinidad and institutions you know 5% sugar business I can do kind of thing don't know what hit them right just like how long Guardian and Express they were watching the International transformation of print media right the annuda print media was dying and trying to calibrate Washington Post New York Times kind of thing losing billions trying to figure out how to remain in the game but their figures that they were watching in front of them was that people were buying newspapers just like normal Trinidadians were just buying newspapers just like that and they said well we have time Trinidadians are slow adapters whatever in two months the behavior patterns of the 35 an uber just switched as my generation and a lot like the Lavi you know people that said all of a sudden like if we had we had a secret phone pole fellas we environment papers from knowing like if that phone call went out everybody stopped buying papers and all of a sudden bad guy and Express and stuff 20,000 buyers vaporize in a month 42 and in three months and four months time they laying off hundreds of workers it happens as quickly as that right the behavior ships are not kind of stuff that occurred and in technological ships and those kinds of thing it's real right so if you don't pay attention to demographics you will pay a price right and we paid that price in a number of ways the way that we paid that price was that 65% of the population was under 35 and little to none of them have any idea of the legacy that I talked about of the golden age because of what I said before because there are no spaces of memory no institutions of memory no engines of memory no facilities as a memory right so what happened a crisis of inheritance and that crisis led to the collapse of traditions institutions and communities right so we've seen it only time collagen talked about whether judiciary that thing this thing collapse and good thing entire communities Belmonte things belmont is not like what would take this yet you know how that happen what it's simple if you don't have a center the center cannot hold and it will collapse right and we all know in Trinidad the magic of art that once you add creativity and once you add IP or add the intangible it becomes valueless to people right so you know so people will draw on a big concert and stuff and thing people come out for the artists thing whoever won at the energy show curtain will come boy well you see what happen you know like we a make thing you know behind you seen them play any song man full you seen them kind of thing but the artists lineup color as well you see is you up you know I mean so because as far as the country is concerned that thing is valueless and I will get into why this is the reality of that last two decades right this is one of our greatest wire benders right and this is what happens this is what happened that context of the person of that generation without transmission of valuable IT with trillions of dollars you cannot I talk about the IP that but 40 by 40 foot sculptures up as kinetic things moving with no wheels and with two wheels and that kind of stuff and with nobody else on planet with ever being able to do that and still not able to do it and that small cadre of men who knew how to do that we did not see it fit to find out who what when why how and because these things are discarded and there's no forensics to be done we are now like the rest of the planet we watching pictures if pictures do exist we watch any pictures like Bowie why don't we do I feel he that's what we're doing right right so Richard Marcel in yet add these delicious we don't talk about the industry in a real way right people have all kinds of cliches and not kind of stuff artists need to get more businesslike and saying and this and we've all kind of shopping us can have absolutely nothing the most entrepreneurial people in the Caribbean are artists you know the artists are the ones who have been risking they are all intrapreneurs are petty merchants bring in long export and selling shop floor I don't know a markup or not kind of stuff the real capitalists the real risk takers read are the artists right who have been building billion-dollar economies you know so let's talk reality this is the way we should be talking about the industry so let's do an x-ray of the music industry music industry income remember we said before we sit down with real figures real data we know how much our much marshal make and pull sure we know how much cast making for sure we know inside to another an outsider children of the islands we knew all that information know all them scholars and think don't because when they tell them we say yeah make an arm about two hundred thousand which um you know I mean dads and I'm good you know I mean we knew the figures these are the figures you have one person but this figures these figures about 2014-2015 one person making fifty six million dollars a year and you have about seven people making between 1 million and six million dollars right this is recent about a couple years ago it was only one other person was making seven million and six others made me makin a million a little more than a million point two and I can surf you remove prize money from that most of em people are fault about 0.2 0.5 whatever and underneath them is subsistence that is not an industry right the thing is though the reality on the ground is that if we just did the basic enablers that we tool governor to do just coyotes people to the niche music expose and they will get representation stuff license whatever that's where in business of the industry happens if you're not present you don't exist when shaggy was the biggest artists in the world it wasn't me you know 12 million whoever sold whatever not gonna stop the next year he was in medium on that factory floor like a pleb working this thing because if you're not there you to Texas we are not there so we don't exist our craftspeople are not there in the major crush expose the world so we don't exist and it's as simple as that and barbarous their craftsmen are middle class and upper middle class right and the government just did two interventions they carry down the doors expose every year and they put their craft things in the middle of the tourist district and they build them and you make it slick and they make it look like we're small and it's like this is for you and as all those two interventions people could send it children to a university whatever craftsman let him in the husband would work and at one point in time there that stuff was acres below in terms of quality can say that no but you know but that is what facilitation and an incubus of environment is is so we said that if they did that for the musicians there were at least sixty people that I could be makin between twenty to fifty million dollars a year about two hundred that could be making a million dollars and more and about dozens hundreds and dozens of others that could be hundred thousand years that is the kind of wealth that is there in terms of what people have in terms of the value of the material that they have their catalogs and their ability to perform if we had just put them in the places where they would and there's not the people we thought we thought because again people don't talk about the industry properly so everybody on Billboard thing whatsoever who went up you know I mean they're looking for somebody whose song and like what going on right now thing whatever no mostly our valuable artists who would have been in that fifty million dollar twenty to fifty dollar range would have been like will beat artists it would have been like Lara brothers it would have been like shadow it would have been like Robert Monroe authentic world beat artists would have signed to small and medium sized will beat labels so all about sixty thousand albums a year and being on the road between a hundred one hundred and fifty days of a year making between 5,000 to 15,000 us for sure that is the real world of music industry people making middle-class lives and upper-class lives and working poor and working-class lives and stuff from the aggressive they work and we just happen to have a lot of things of value the proof of puddin the only person who went through the lifecycle of the things that we said that they should was Calypso ruse and what happened she's now the biggest female will beat artists and it will right but we'll come to that so no it's only same thing right so again we have will beat artists rock artists R&B artists all these kinds of people these are the people who have niches where they can monetize have on all college circuit and university circuit and board coasts that just want live music looking for live music the reggae and dancehall acts inside there at ninety all the time they just ramen up inside there if you're not at the expose you do exist we are no we're anything but then it's not who we think we are to send it's not dumbest people like join poppin or in sky and you know is you know it's not who we think you know who wins super monarch this year I get to send him know did you really shine understand and this song and the tears of the mainstream right so a lot of these things are also sabotage locally because we have five to ten percent local content on our radios on television right and I was like 40 radio stations now you know 15 television stations five to ten percent local content as I said the rest of the planet is moving towards full local content regime right there was a point in time in the early 2000s when we were the only country that was heading into negatives everybody else was adding on adding on we were the only ones militantly so by our state out of government militantly we refused her army refused the support alright you know right so we have the music industry so I just want to say I wanted to remove some veils and talk about the industry in a way that we're not talking about these and those kinds of things issue okay so let's talk about the carnival right at its height this is 2007 2006 figures Tourism Board figures they did a comprehensive carnival deep dive study is a very very important study they identified that we were had at that point in time sixty-five thousand visitors for Carnival that was the high end that was us at Pinnacle right but in 2008 with the crash the worldwide banking and financial crash that dropped to twenty thousand people this year last year it has been wiggling its way back it's back up to about 45 thousand oh that is a big drop and especially considering that all the time or optimum was really probably about a hundred thousand that's what we should have been aiming for right and that one hundred thousand no at six eight hours we maxing out our room rate in terms of hotels and only formal gas out sex and stuff right so there's you have to open up the informal sector Airbnb where whoever ever but also we have an ace in the hole that we found out that we could have been offering cruise ships fuel subsidies to come to break their route during Carnival and come here for Carnival it took about twenty thousand people on these ships seven fifteen twenty thousand people if you have four liners outside park top duty months oh and we have oil and gas but we had we had with petrol trend we could have multiplied geometrically the amount of multiplier economies and stuff that we could have had coming off for the carnival right for that week that last weekend the two days so the other thing that happened to Trinidad was in the late 90s early 2000s we broke we had problems with the brand ambassadors there were a series of possible functions there was series of people who broke trailer and Tobago internationally these were journalists Time magazine Life magazine National Geographic ax Washington Post's New York Times people who love who just discovered Trinidad fell in love with Trinidad and got us prime column inches for free in these magazines and our kind of stuff and that was what led to the kind of surge of the kinds of visitors that we started to get that pulled up that 65,000 write a lot of older white you see them you know that we don't see that type of tourists anymore right kind of older white European married couple kind of those kind of things that those those are not the kind of tourists that come here anymore but this one was broken like that but we mistreated those between a journalist I knew a couple of them right so there was one year in particular it was psycho Mike remembers an airline strike international whatever whatever they were getting difficulty in coming into Trinidad the co ltd see well at the time said cool Ministry of Foreign Affairs we need some help getting into the country they get booze the gay were forever but short a Jamaica sandals called these journalists and said I hear that your game problems at Trinidad I will fly into Trinidad on a Jamaica but in exchange for you now covering should be accountable right I want whoever not kind of stuff some of these people were so vexed with the mistreatment attract a bit they swore in front of me is Luba dearie I done with Trinidadian I am going to build Barbados and Jamaica carnival so what you will have a not gonna stuff I'm not gonna think what I do know how to treat people so sad so done these are the kinds of relationships and stuff that make up the creative industries relationships right it's neutering of networks neutering of your brand ambassadors neutering of those people and those kind of things figuring out all kinds of different ways that you could work with these people and not kind of stuff to make things happen right you have to understand the value that they bring to your ground and stuff and things we didn't do that and we paid enormous price so when we know we went back and we tried to get Renard was a National Geographic it was that kind of stuff I think we paid how much millions of dollars to get those articles life or whoever did it when it in fashion whatever millions and millions of dollars right to get the thing is a sponsored kind of thing a little so we all know that apart from those visitors that the indigenous crowds are no longer there he used to say that it used to take two hours to walk from Independence Square to Queen Street in carnival of your I talked into it two years ago right just for the thickness of people you just climb in through people now Monday on Tuesday dong Tong it's like Sunday they have nobody right it is because we could say that there say there's about 60,000 active participants in the carnivals on Monday and Tuesday people are kind of stuff I think at its height we probably had about a hundred thousand I would think that's from that kind of read of them because those crowds you should be take all the way up all the Savannah all those roads it were just with people or wood broke you people st. James you could not negotiate you would not see somebody twice I mean most of that is the loss of creativity and loss of spectacle and those kinds of things on the streets a huge part of that is in the loss of the working class participation in the festival the block especially the black urban core to Spain working class who created pan Mars and Calypso in points of midwifed these things turn into existence the ones who do not partake any 15 billion dollar global economy of it they are the ones completely locked out of the space and do this thing why the economics underground a lot of things change working-class trade the reason why trader has the contagious carnival that it has there two reasons one is that we are the recipients of the great festival tribes of the peoples of the world so the West Africans from Africa came here right EBU Fulani foolish aunty Yoruba the Congo that said that the festival seat of Africa comes here Bengal and Bihar come here from India right massive Ganga festivals and Hanuman festivals and and under niche festivals and I cannot take millions of people on the streets and stuff this was the festival seat of Native America people coming here from as far as Cuba and from the mainland to consecrate priests in sacred sites in Irie for NAPA Rima and Alto couche the French come here from thing during the luigi 14 and 15 this is when they are there they had horse flapping this is who comes here these are the Divas who come here so that's a remarkable collection of the festival peoples of planetís when those drummers and mask readers who heard one another across the way they understood one another one time and I will say the first Trinitarians buddy no teeth man right drummers and artisans and dancers you know cheaper if it were wrongly he heard same thing I know nobody no teeth man he made me like to drink and I'm kind of stuff on thing those are the first Trinitarians and could be violence those are the people who crossed lines who were not supposed to cross lines show me were you in their whole thing whatever hunting I think Anton who inside one another piece I wanted a Pooja and what those any foolish Trinidadian the first trinit black big Audion events the real independence trader happens in the 1890s right cumberly riots the first time that Trinidadians are risking blood on identity saying I am willing to die for a construct of something that I feel that is me of here I'm willing to die for it I willing to kill and die for it just later on in that decade the Xhosa riots the Hindus and Muslims together with Africans with the who plane doing Jose and by this time of course if you really recount the accounts in the carnival already you have Jose Tigers Krishna thoughts and all those things inside the carnival in the early nineteen hundred's ahead Errol he'll talk about a baroque Heath coronation ceremony in Mara vada East Indian guru peak Hindu guru keep coronation ceremony full carnival ram-leela mix with secular folk folk india and that kind of stuff and disconnecting a full spiritual secular baroque eats and stuff featuring Hindu gods carnival characters and all kinds of things mix up in one this is just 40 years after they arrived 20 years after they arrived there already you have to charges and stuff inside the carnival that is us so because of that we have this Trinidad and Tobago carnival but the other thing that we have is that we have the great X live artisan class because yet this port and a port tongue you have industrial artisans agricultural artisans traditional artisans you have men who in all these different forms of industry and that kind of stuff so when time came to solve a problem how again the city foot by 30 foot thing up in the air man had extra amounts of skills that they could have brought to the table and that artisan class was as exceptional artisan class and that artisan class was the backbone of the economies of X live African villages and tongues and stuff throughout in 1900 that artisan class was decimated in the 80s with import substitution when he brought in Willie where where the warehouses bringing arm clothes arm you know the Assyrians started to bring in clothes and their new retail and that kind of stuff and those kind of things without the enablers and stuff for the artisan class like what happened in Italy for instance right so he's always say Gucci Armani all these things are just fillers but they were tailors that were facilitated by state funding and mafia but but they were facilitated by these multiple kinds of entities are not kind of thing to becoming what they are we had comparable brands talents are not kind of stuff but we did not do that and we designated those economies so that's when Belmont and all those things thing and that's when people migrated our mass mass migrations are not kind of stuff the flip side to that is what those are designs that created are lots of the 300 Trinidad style carnivals so that is the flip side of the equation but it meant that we began in already inner space that with no cultural memory and no places of transmission the collapse was became more heated so you had things happening like peeterman shell became the recipient of the collapse Belmonte artisan bands so when all the belmont or mostly belmont artists and bands collapse in the 80s our kind of stuff most of their lead artisans the Billie's and Morris's and you always are the guys on our cutting work when Simon shell so that was Diamond shells Golden Age I'm in shells Golden Age was facilitated by the artisan class so he could dream up whatever he wanted you know at another time you get a dreamer boy he wants it and he would have been an incredible comic book artists but he had the artisans who could have executed anything he dreamt of at that point in time so that decimation happen and it collapse and then we have also the fact that the because there's no enabling environment for the creatives tralala Lala the only entryway into the carnival is now the marketplace if you have private wealth outside of this thing right before when these things were created by villages the Golden Age communities right the payment was people would put on a band of 500 700 people and they might have spent thirty five thousand dollars ten thousand two two three five thousand dollars does it right why most of the people in masks come working for the food that means my leave doing any part they are not kind of stuff and the music and it will talk and we have our Valley Village brought out these bands that no longer persists if you have to sustain a mass camp of 35 people working for 20 nights to bring out a bun no in this economy where you have to pay people minimum wage or whatever we can wage and that kind of stuff dooty max how many working-class people and communities could not enter that it costs over two hundred and fifty thousand dollars to bring out small to medium sized band when I started juvy it used to cost us five thousand to ten thousand dollars to bring out a juvie bond twenty something years ago now it is between sixty five thousand one hundred and twenty five thousand dollars to bring out a juvie ban of about 500 to 600 people a juvie bond three hours how many working-class people care for the economies of Carnival right now so now the working class we see them as CPAP workers PP trop raw Polar's because for them is a hustle yeah like what them is that's two hundred and fifty dollars at the Deary me I have no time for everything $250 just like sing and these are the people whose fathers grandfathers created so the most pretty great spectacles that we have a witness in our lives so we have because I got ERISA de Mardi Gras the middle class in middle class hoo-hah and 1% who cannot enter the carnival because they're the ones who can afford to write the one again to that whole thing the other piece of carnival we don't talk about is that most people lose money in carnival despite all those things I just said right people will talk about that right most medium sized large band leaders say about 3/4 that might be making money again we know the figures we know the masked men and stuff we know men who mortgage in houses and who going into hundreds of thousands of deaths ritually every year because of this thing these are the traditional guys who still feeling something right I don't wanna call people names but the you know the great medium-sized band leaders and that kind of stuff and those kind of things and so who's still trying to do it even though again the formula and the grown has changed but they are the ones who still if did I go do it do you like doing individuals and who doing King and queens and who do in doing it people way this is this is realities these are things that we're not talking about and those kinds of things if you're not talking about if you don't understand that this is reality on the ground and you can't solve the problems right the other thing is that we speak about carnival as if it is a event so any last 10 to 15 years all kinds of event manager people make real money they bring in all kind of consultants abroad and local right you know the ban on the road is I event bands Anirudh is the event the marsh cries event these are not events these are rituals right the marsh Gras is the head gaël of the country where all the Kings are the Queen's come to do battle and if you pick the kings and queens the best kings and queens the whole nation eyes will be drawn and souls will be transfixed because that's what we created in carnival we created a series of forms where kings and queens conjugated us the best of us the worst of us for that yay that song that Calypso sonnet everybody before 30 years ago and a master I use happened everybody a class that kind of well unless you know who Wednesday Mara if you fall asleep if you're outside like who who in ruinas I can oh like what shadow and when Horry LSAT I reckon I mean you feel because those songs conjugated us that carnival king and queen conjugated us this is before the judges the bourgeois judges the political judges interfered with the people sting and kill the connection with any people anything so it moved on so come on up where people were voting with their weather when they participate the song right again demographic right Monro understood that he watch the thing he said I had a killin it dead we're eating is boy it's in defense wait have nothing for our music does the next thing come on who is excellent at seeing those things and I kind of stuff again that kind of intrapreneurs he sent shall did he think alright let's move on quickly skip that what act did in ela and for the last twenty years was create an ecosystem of enablers they all day and if website policy enablers legislative enablers institutions fiscal enablers municipal codes programs those kinds of things some of them most of them are international best practice things which are being put in places in nineteen twenties in most of the economies of the world so again my scholarship there were four waves of creative industry enablers on planet earth right where they were massive transformations and short periods of times with like say municipal codes broadcast codes Hooters different kinds of things mostly linked to technological shifts and those kinds of things and that created our web of enablers that enable by the time the creative revolution happen in the early 2000s that there was an entire web of support of things from arts consoles to museum complexes to broadcast laws to all kinds of different things that facilitated this thing and but people were able to monetize right we made our platform the getting of these things right the thing is we know that they work how do we know that they work there have been certain times when government ban we were able to get them to do you know true extraordinary arrests and all kinds of things to do those things and for short small windows we have paper trails where we could see what was possible so we created a film industry ecosystem they wanted when they finally listened to us they were interested in creating a film industry based on foreigners coming on here and shooting stuff and we were saying you cannot do that it has to be based first on a domestic television industry right because even those foreigners want to come down here and they want to work with professionals in the field and I can a certain thing if there are no professionals who are operating at that capacity and those kind of things they will not come so we had to sell all kinds of things and they still we fought seven years from the point in time when they said that he to the point when we got it adopted and up until the day before the adoption there's a big thing in movie Tom I had to stand up and rest in peace god bless his soul and threatened the den trade minister can valley they said that you will pay an enormous price if you go ahead and make it a foreign beasts then you will pay that price and silence in your room when we come out you nobody talking to me all my friends everybody right and I kind of stuff but the next day that call though the next day local content was embedded anything so I have no problems pay any bad cop and do this thing because that is what it takes right the silence anything and acuteness annual it do work your many threats and things and lift things the press and all kinds of stuff it took to get whatever we have in place here so in the five years that TT film operated as it should you got them to sign international Connie treaties for custom things they pass rebate laws tax incentives all those things all the things the full things that the generations before me that I inherited things that I got from them that we I made the agenda we got those things for five years more than 700 films shorts and teachers and stuff shot by Trinidadians in that period dozens and dozens of companies that are now working and stuff employing that meant throwing hundreds and hundreds of people and no production companies and those kinds of things I know alive and abroad in the land and those kinds of things people winning international awards people now going on to we can get the Hollywood jobs and thing and working in Pixar and with Bill Smith and Rivera from the work that was generated by those things that they did here we know what happens in that period jean-michel she bill rituals and medium I said before don't go today the the expose you don't exists the only people are the expose our labels and nation's the Jamaican boot is like big every years big like this thing every year Jamaica's present all their brands are inside big ten thing and they doing it we have no presence the only time we had presence jean-michel Chiba of rituals mood music a French man who came down here fell in love with our music and such they invest five years for five years out of in nineteen years he carried troops was a very capital-intensive thing after you know I mean I kind of stuff I'm never consecutive years except for one exception in those five times we made a hundred and fifty million dollars which of deals all the major deals that have been done all the platinum albums for who let the dogs out the D license a bullet it dogs out dollar wine moving to the left all those things and I kind of start from that song and I kind of stuff these are platinum songs and those kinds of things all of those things from the time that we went there but we never went consecutive times up step one person who it won't be an attention Calypso ruse so what happens people have attention you get a deal you know you gather a tauren deal for today it's in Europe and that kind of stuff but you never show back up the next year so you're not in the game right there are people who they're at 70,000 people on that shop floor people are there to do business if you're not there you're showing that you're not interested in business right and they will get people those doors is as few slots you know Rose went first year European deal whatever second year she went she had the film and that kind of stuff the they get she got her next deal again film gets picked up by PBS in America the music the the tour gets extended she get a fast she American tour in next year the only top will beat produces any world season that kind of says it's like this is even when I want to work with on her album and that kind of stuff and that kind of thing roses on our way the top three will be matriarchs all died in that same period and in world each scene is looking for matriarch to take the mantle of the matriarch of will beat music who is their roots time and please write people again we don't talk about it properly is I gave her Rose she know she out there and she do anything and Rose Addison the music Rose music real good it had nothing to do that it had to do with process simply process if we had put Robert Monroe into that process Robert Monroe would be making millions of dollars in the state if you had put Lara Brothers through that process the most authentic folk artists and so do is that if they would have been doing it but we didn't write Robert Monroe died having produced only one album possibly the greatest cuatro easterly will in his entire lifetime one album of music we know that having an academy works yes we fought for it to be better equipped and better programmed and those kinds of things but right now every single year there are hundreds of creative young people graduating and coming out of Russia level education where they are working between tenth all the ten thousand hours on the instruments and their mediums free of charge in enable environments how I wish when I was younger that somebody was paying me for four years the player guitar ed Joey where Joey if you're coming you know yes you just chill and do a via one mana I cannot say you know I mean for years you just thing and meet your best teachers and ten comments a and you know now whatever the limitations of those programs it means that you have a generation of practitioners are coming out with you centers and always and in the spaces where you have the artists the artists the young artists who are compensated with by indigenous things because the thing about the you you TT program is that it's not indigenous and rooted enough right so it's not matriculated people the point of academies to matriculate people in your traditions that's the only point of our Academy it's the matriculate your people and your traditions after that you could do drama 101 and whatever whatever but the first thing is to matriculate people in your own tradition when the Golden Age was dying and they were building after we stole them as like make Napa the master guild of the country bring in all these artisans and those kinds of things make them masters artists and residences and those kind of things you do enter : professors because the to portion you don't know column that fine call them any one of those other things let them create master works with master apprentices and documents and codified from the process don't expect to qualify and matriculate the winner a professor will let them matriculate by practicums capture lead eater let these professors afterwards go through the data and derive curricula from it but again we told them you have until 2012 or the dead is gone they refused and well okay I thought I would be able to get through a lot of this you know but it yeah all right so ruse all right I'm gonna run to a couple of things what we see in act is that what is possible is right now the creative industries contribute about 1.1 billion probably songs about 725 million or something like that with drop-in carnival visitors 1.1 billion said 1.3 billion a year what we told them is that with basic the basic enablers in place we could jump about six million dollars in three years right because of the how the arts worked in terms of geometric increases and thing when KMC had it number 72 I think number 72 hang on billboard or nothing you know I mean nothing you can't scoff at it I'm not gonna stuff that was still worth three million dollars to him and millions of dollars stays labeled and that was something that he did in his studio for $6,000 right I saw and he did for $6,000 made that money right that is how the sector works this is not a sector like manufacturing and all those kinds of things which requires the replication of factors of production for the creation of units right from the tiny prototype is made you could make infinite amounts of that the prototype for almost nothing and the value of that could escalate in the marketplace to all kinds of different kinds of things and that is the power of the creative no not yet it's just not me right so we said that the six billion dollars could be made in three years and that if we put most of these things in place we think that the contribution to the economy could be between 15 to 20 billion dollars annually we'll probably take about eight years depending on how they roll out is and you break down any short term is heritage economy could make about a billion the genius class that is releasing the genius class the people idk MCS and he marshals and the min shells and those kind of things could make about two billion dollars a year carnival and festivals and events could make about two billion an IT licensing pittance a new media could make another billion sorry closing there's a lot more what existed before act before act stepped into the environment they used to be one budget one sentence on arts and budgets nationally four years and a home for the Arts will be built on princess building grounds right freeze right it used to be it used to be a joke amongst artists and stuff for somebody who lied when you know I'm on lie and I kind of stuff is here yeah yeah and our home for the Arts will Ingram's right because and that was the only sentence right that is what we met because I'm a multimedia artist I knew that government usually go into the National Dance Association telling them we gonna let you know and he puts it all in charge you know and then you say good say and that drama association be billing it well you know them down speak you know that we want all you're in charge and that's how they used to play off all the groups against one other so everybody know send these promises so when you get knife in your back nobody know that you dine alone in a corner over so since I set artists dine corners and that kind of stuff of dead promises there was zero language of arts as an industry anywhere in the in the entire ministry firmament all that existed were community education programs the period of the Golden Age at the age of James neva Torrance Muhammad barrel Chang or a massage the elder Wang sang the creation of external things that he TTTS are not gonna stuff on the best villages and folk documentation any memory stock that Golden Age had passed in his seventies and by the 80s is routed right again all these other routes that are happening because of the boom because we read shammy everybody knew how he thinks supposed to run and flew local content apart from the na r which had progressive programs on the ground which was scuttled by the coup that was all she wrote that is what we stepped into in 97 20 whole Michael Shara myself got together and canvassed all the artist groups and all he had artists and those kinds of things for all the demands what are the things that you know it's like Tony was seen about the foundation a Caribbean foundation 2-yards Michael on a union artists union and i was co Leighton and we thought it was going to be this massive and cyclopædia demands like that it turned out to be six institutional complexes and 11 pieces of legislation and that was it that was what everybody was battling for and stuff and we didn't know we had not concretize it and cemented it and stuff and those things became the thing Andy and what we did during that period and I'll end here unfortunately the way that we changed the way that we went about engagement was we started with the first thing we said the things that had to be transparent if go one tells us something everybody moves we'll know what that is that thing is by the next day every single thing whoever is not saying a single it's a secret or what kind of thing any meeting that we have he says I got telling you that whatever you discuss here it's gonna be out there we consulted with people become piled stuff we created a holistic agenda and then we employed strategies we looked at international activism strategies we looked at what worked here we looked at what didn't work we looked at what never was attempted we knew that we never marched as artists we were the only sector in the country people are now water for two days they burn entire same archivo ever ever we taken unprecedented levels of of marginalization sabotage all kinds of things and we who supposed to be the most revolutionary groups in society completely polite and silent so one of the things that I canvassed for four years was that we had to at least find a forum a cause that would get us out in the streets for them to see us and to know that that old relationship no longer existed and quarters became that cause so when the local content thing it's reaching a height where people realize and that the produce and stuff and it not been seen guileless uni game and tong what i find those kinds of things we started i started lobbying for people to march for quarters because I thought that the musicians are probably most militants of all the artists at the time for year eight months every single forum every single thing saying and thing I get up and stuff people think I can everybody oh gosh would you take it all take oh gosh you know you know thing name we would take we all think whether what happens a journalist hears about a normal meeting of artists happening in Ammar history Karan mistakes it for Jota mitten and writes that artists are gathering for hooter March meeting a tomorrow so I show up at him each and expecting the same seven people that would normally show up to these things 40-something people dancing ready like I was like these are same people before all the time let's move and I was like what were we talking about you say like we have me at a match taking our eyes ice is like okay so I start act on the match the other heads of the meeting say no that's what we're here for and that meeting is probably the most important meeting in terms of the artists era because the battles the psychological battles that had been before sin that three hours to get people to the place where we were on the road is what determined all the successes that happened after our people by the energy mythical they're people thing who was obviously saboteurs who were sent to sabotaging mitten who were pushing things between people all kinds of things were happening limiting in the end it was decided and 400 artists marched any rude for the first time and I have to thank people like Andrew Tonka TV brother Charu like big gun artists came out you know tell to be seen and heard and I thought it was the first time what happened we watch Don Frederick Street Independence Square came up biology just this by in front of the EGS please and we march in from the edge in Ramesh was eg anytime his secretary comes down and she caused the me and two other leaders at him and come upstairs no undrafted in TD telecommunicators the other thing telecommunication act was call any week after and we were trying to get it into that ah she say common draftee language into the art so alright I always have it there so pull it out and we draw thing because we are we are the other thing that we did with high behind lawyers economists accountants architects that's what we did the Tuesday comes and you're listening for the read auditing they've come to the part with closes and whatever whatever nothing and then they move on and be like what just happened then Kurama shops everything it's exactly minister was what's going on eg or he was looking at some Canadian precedent and something in the US and whatever web or whoever you see that they're not holding what you're telling us there and nothing is the same thing that happen oh whatever that's completely relevant to this and what we found out within the day was that the party finances the Chamber of Commerce the broadcast Association and he advertises Association called them and told them take that off and for the first time we knew who our enemies were we never knew who would enemies on the other side we always thought government and thing and ran and web over who ever ever but there was a shadow cabinet calling all the shots and from since then those people have had to sit down any meetings with us and our view there cause pro and con anytime that the legislation comes back we come with things stick like that they come at enhancing it we come at precedents from all over the world there's one hundred percent success ratio with local content who it says up across planet it there is no and there's no success story outside of it for broadcast industry none people say New Zealand ou have courses and are kind of stuff New Zealand they say that because New Zealand signs something in the US that it could not in a free trade agreement they couldn't pass photos but New Zealand is part of the Australian quota system so New Zealand content is counted as Australian content as a Content so New Zealand actually has a continental audience for its goods and services in our kind of stuff so there is no success stories or continuity and we have lived to see where the chambers of commerce have defected from that side because of the signing of the EPA because I signed a European that partnership agreement signing away their abilities to have quotas and subsidies and those kinds of things they have looked to the artists to get our quota things in so that they have a window so ideologically get the government to be able to say so I have been part of a local chamber of local content with Manufacturers Association and whatever was about all of them who were enemies before sitting down craft and local content agendas and policies for government for the nation these are the things that we did we started speaking in policy language we broke this stereotype and behavior that artists cannot and are not supposed to be able to organise the time that we had our greatest success in a budget are not kind of stuff with the first time they encountered the coalition and we lobby lobby lobby until we got a cabinet meeting force FM GP for the budget and I said all right now I guess they cannot just make a noise and a nice treat that's hang on this Ruby Dee River whoever and we walked in with 16 heads into that meetin function big goal today and the whole cabinet was everybody set up in his seat and was like I was like they didn't understand what happened and we sat down there with the agendas and we said let's talk and they had to listen because they do any counts panzram be who 239 orchestras by two people thing dance association saying probably about 5,000 10,000 dancers thing we're probably saying the thing you have and then you realize okay we have to listen alright so I really really thought I could have burned through 20 years like you know I'm you only reach the first five the thing is is that what I'm trying to do with this conversation is this is the way that we have been talking about the industry for 20 plus years right it is a year as the winner has cut across the misunderstandings these stereotypes all the other strip innocent people as we talking and really artists need to do this and that and if the only thing and what would know it's that's not how the planet works and nothing in the world works in those means we have to start talking with reality about these things we have to stop like all I talk about it kind of all I'm by talking about the carnival we talk about the collapse of Belmonte and eSports Spain and that kind of stuff because we talking about the collapse of the artisan class that was a descent of it because we're talking about the lack of enabling environments which are feature since in 1920s of other spaces all over the world who understood the importance of those food artisans and those things and made them the center of the transformations the entire German engineering economy is not based upon human masters and doctorate engineers it is based on artisans guild artisans on the ground that's what is based on the craftsmanship and care and rigor and those kinds of things and that's because hundreds of millions of dollars is poured into that infrastructure schools academies spaces zones are created to facilitate those people because those people are worth billions of dollars to Germany and they are would and infinite among to their brand at one point in time we had a lot of that value inside of us a lot of those things I'm jeopardy know and said I'd i reaiiy you know I keep thinking that but I can't cheat this stuff these things are what they are they deserve to be interrogated the way I have been interrogated I hope you agree I hope you will are you have you been hearing things that you haven't heard before new things yes I it it has to remove veils it is to be speak to speak to things in in transformative ways in the ways that I learned from the elders that I learned my intellectual line from CLR James born ruler Lloyd best especially CLR right that kind of the Marxist line or what he called Marxist line in terms of in terms of delineating describing phenomena faithfully and coming to conclusions because of that honest description not because of anybody to predetermine idea that you have because you're bright and you feel that well this is how it works and then you're looking for the evidence of it on the ground even when the evidence not there you're still saying well this is why whatever just describe the batsman on the tooth on the wicket in tuna Pune outside your window and you saw two hundred year old historical problems because of the line of a thing and it's just describing it faithfully that you could see three generations of working-class agricultural workers artisans whatever in that line in that hand in that March in that whatever you seen a certain kind of thing in that eye that comes from X dedication to this job during the day whatever just described it faithfully it will reveal to you what is really going on and the solutions that are there to be had so as I said I probably am going to have to find some way to have this again if you're willing to come for one more session where we try to get that other part in yeah and um yeah so yeah and close it off there for now [Applause]

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