This diagnosis by Prof Rex Nettleford still stands to a large extent:
“The theatre-arts in Jamaica are plagued by the country’s economic constraints. No Government, despite successive administrations’ declared commitment to cultural development since and before Independence, has been able to budget outright subsidies for performing artists, whether they be musicians, actors, dancers or musical theatre artists. In addition, the small population base finds itself incapable of supporting fully paid theatre companies. Most theatre folk in Jamaica do not make a living from theatre, and no dance company in Jamaica functions in that sense of professionalism, whatever may be the claims to the contrary.” (Nettleford - “Dance Jamaica: Renewal and Continuity” 251).
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1. How and why, then, do we tout the term 'professional' among Jamaican Dance Theatre Companies?
2. What are the implications? Who benefits? Who suffers?
3. What are the power dynamics at play in the administration of cultural organizations such as Jamaican dance companies?
Join me on November 7 as we discuss these questions and more.
Big thanks to the ICS UWI Mona for providing a platform to discuss my work.
A creative classical music programmer and cultural commentator with broad administrative experience at the top level
1moI was there. A profoundly moving occasion.