Two days of workshops hosted by The National Cultural Foundation (NCF) gave valuable insight to Barbadian music artistes, songwriters and auxiliary industry professionals (managers, booking agents etc.) to aid in increasing their operations within the global Orange Economy.
Held at the Courtyard by Marriott on Saturday, September 30th and Sunday, October 1st, the inaugural sessions are an extension of the NCF’s Digital Distribution Music Cluster (DDMC) which supports artistes in the marketing and promotion of their music online.
“You can’t just release music and let it sit. You have to release music and give it life,” said Lisa Howell, Business Development Officer at the NCF. She shared how the DDMC, which was launched in 2021, initially just paid for the distribution of artiste’s music on major platforms through Tunecore. However, after noticing deficiencies in other areas, the team decided to increase their involvement in procuring more tools to assist the artistes (cover art for releases, electronic press kits, photoshoots etc.). And further increase their knowledge on the industry with these sessions on the Cluster’s third year of operation. “We realized it is important to let some experts speak to the younger artistes on how publishing and the distribution works,” she said.
The panel of experts included music business veterans J. Spencer Mussellam, LAS Label Leader at Believe Canada and Vivian Barclay, Managing Director of Warner Chappell Music Canada, the publishing division of Warner Music Group; and local specialists Junior Sealy, Stylist and Creative Director, and Tracy Highland, PR/Social Media consultant and owner of JILL Media, to provide insight on crafting an image online.
“The first thing [I do], when I hear about you, I’m going to check your social media,” said Highland. “It is your calling card.” She enforced the recurring, underlying theme of the workshops: consistency. The discipline to ensure profile names are homonymous across platforms (be searchable!), frequently updated with high quality imagery, and constant authentic storytelling can help bolster the artiste’s personal brand and, in turn, generate revenue through bookings, merchandise, or brand deals. “It allows you to build a fan base independently which you can then use as capital,” she said.
Junior Sealy echoed the theme of consistency, too: “You gotta bring the style every single time, as an artiste. Even if you’re going to the supermarket.” The sartorial savant shared how fashion can lead to unseen opportunities, gave tips on acquiring trendy pieces on a budget, and encouraged the artistes to forge relationships with local designers, given the symbiotic relationship between design and music. “As artistes we want to stand out with our music. So why not stand out with our personal image?” he asked. He wrapped his talk by doing a live styling of a few members of the audience.
J. Spencer Mussellam tackled one of the main points on the DDMC’s agenda: increasing an artiste’s online visibility. The independent music professional, with over thirty (30) years of experience, gave a detailed presentation on online distribution, and how attendees can increase reach and awareness on the world’s top Digital Service Providers like Apple Music, Spotify, Amazon Music and Youtube. He gave best practices on populating profiles, using relevant keywords, search engine optimisation tips, and how to repurpose creative efforts across each platform to drive their business.
“One of the first things you’re doing is making sure you have good habits when it comes to copyright ownership,” Vivian Barclay said to the audience of professionals. She shared how the song “is king” and you protect “the crown” by staying on top of publishing administration (the management of song rights, royalties, and licensing) to ensure that artistes can take full advantage of income generation from all areas of the world. She stressed on the importance of practitioners becoming members of a Performance Rights Organization, knowing their Interested Party Information number, and practicing strict metadata management.
Attendees were receptive, and enthusiastically interacted with each presenter. “I learned more of an elaboration on certain things I’ve known before, but it was in more detail,” Wynelle Lovell, stylist and artiste administrator, said of the workshops. “It leaves a big open door for growth and for better things to happen because we’re moving into modern times.”
Limited spaces are available for registration to the Digital Distribution Music Cluster. The slots are open to registered cultural practitioners at the NCF who:
have recorded a single, EP or album – within the past six (6) months to a year – that is completed and ready for distribution,
are digitally releasing new music for the first time,
and are new to Tunecore.
Interested parties should contact Lisa Howell at lisa-howell@ncf.bb. Registration closes on Tuesday, October 26th, 2023.(PR)
Crop Over Festival: Nostalgia Through the Economist’s Lens
Article by Keisha Blades
Since the 18th century, the Crop Over Festival has captivated Barbados annually, typically taking center stage for several weeks and culminating in August. Originally marking the end of the sugar cane harvest, Crop Over has evolved into one of the island’s most significant cultural events. For myself and many others, Crop Over is more than a festival; it is a deep-rooted tradition reflecting Barbados’ rich cultural heritage. It has become a shared identity, uniting all who immerse themselves in this unique, dynamic mosaic of experiences. More than just a cultural spectacle, Crop Over is a major economic driver. It attracts a flood of regional and international visitors, generating substantial revenue. According to then Prime Minister Freundel Stuart in a 2012 article by the Barbados Government Information Service (GIS), Crop Over brings in around BDS$80 million, making it a significant revenue earner even during a recession. As Crop Over celebrates its 50th anniversary this year, I feel a wave of nostalgia along with a desire to share my perspective through an economist’s lens. Join me as I delve into the diverse perspectives on the festival, ranging from the sentimental to the economic.
The Sentimental Perspective
My earliest memories of the festivities encapsulate pulsing sweet soca music, the annual tradition of the open-air Bridgetown Market with numerous stalls selling intricate local handmade crafts, aromatic foods, and refreshing drinks/snow-cones, a multitude of lively fetes, and the Visual Arts Festival and its exhibitions showcasing Barbadian heritage through dance, music, and theatrical performances. The highlight was the colourful parade of elaborate costumes glimmering in the sunlight, on Grand Kadooment, the grand finale of the festival. As a child, I fondly recall watching my mother adorned in exquisite costumes, eagerly anticipating the moment when I could wear the pieces of her ensemble. Each year, receiving these vibrant jewelled and sequined costume pieces became a cherished highlight. Wearing them for my own parade, and the days that followed, felt like Kadooment Day every day. From then, I knew Crop Over was something I wanted to be part of. From a child masquerading in Kiddies Kadooment to an adult showcasing the most exotic costume designs, it’s safe to say that Crop Over has become an integral part of my life.
The Economist’s Lens
As my perspective shifted from consumer to analyst, my view of Crop Over expanded to include a keen interest in its economic dimensions. This vibrant festival serves as a distinct cultural and social platform that has grown in significance, continually generating opportunities and stimulating economic activity across various sectors. Local vendors and artisans reap significant benefits as the festival provides a platform to showcase and sell their goods. This creates a ripple effect, stimulating various sectors of the economy and offering numerous job prospects, from retail to event planning and logistics. The season is also incredibly lucrative for a wide range of creative, skills-based services. It generates income opportunities for musicians, singers, songwriters, DJs, choreographers, dancers, Kadooment bands, costume designers, and make-up artists, among others. Additionally, the influx of travellers increases the demand for accommodation, specialty foods, beverages, entertainment, retail shopping, guided tours, and transportation. This economic activity fosters growth and employment across multiple industries. Yet, the dynamic ripple effect typically generated by Crop Over was starkly absent during the two years it was cancelled due to the COVID-19 pandemic. The contrast was palpable, highlighting just how vital the festival is to the community’s economic health. Former Central Bank Governor Mr. Cleviston Haynes emphasized the pivotal role of Crop Over in driving economic activity, foreign exchange earnings, spending, and tourism—the backbone of our economy. As a result, the consecutive cancellation of Crop Over had a profound impact, leading to substantial annual revenue losses across various sectors and further slowing down the country’s economic recovery. This period was characterized by a careful weighing of pros and cons, with efforts focused on navigating the pandemic cautiously despite its significant economic repercussions. The next year, in his economic review for January to June 2022, former Governor Haynes reiterated the positive impact of Crop Over, saying, “Even without an influx of visitors, Crop Over generates significant economic activity. The events over the past few weeks show that these festivities positively impact the economy, and I expect this will contribute to overall growth for the rest of the year.” As expected, the Central Bank of Barbados’ Review of Barbados’ Economic Performance for 2023 reported an estimated growth of 4.4 percent. This growth was primarily driven by tourism, “bolstered by the vibrant revival of the Crop Over festivities”, among other factors (Central Bank of Barbados, 2024).
The Intersection of Sentimentality and Economics
When it comes to decision-making in festival planning, pricing, and marketing, economic considerations play a pivotal role. Organizers must strike a delicate balance between honouring the event’s historical and emotional significance while ensuring it remains financially sustainable. This balance is not always easy to achieve, as decisions about ticket pricing, sponsorships, and marketing strategies can profoundly impact attendance and community engagement. Finding this balance has grown increasingly challenging due to a myriad of unforeseen events such as geo-political conflicts, natural disasters, climate change, elevated foreign interest rates, and technological disruptions caused by cyber-attacks. In a recent IMF Working Paper, Cevik and Gwon (2024) asserted, “the impact of weather shocks on supply chains and inflation dynamics is likely to become more pronounced with accelerating climate change.” For Crop Over consumers, this means inflation continues to chip away at their purchasing power, making it harder to keep up with rising costs. For Crop Over suppliers, this situation forces a tough choice: either absorb the additional costs themselves or pass them on to consumers. Additionally, finding sponsors becomes increasingly difficult as they too are faced with constrained budgets.
In the realm of festivals and cultural celebrations, conflicts often arise between the desire to preserve tradition and the drive to maximize economic returns. Traditional practices and rituals may clash with modern economic realities, leading to tough decisions about whether to adapt or compromise cherished customs for commercial success. After half a century, Crop Over has flourished and transformed, now poised to truly reach its full potential. With this in mind, stakeholders understand the importance of moving to a route featuring wider roads, ample space for vendors and spectators, and a layout that can be efficiently managed by the police and defence force. This was highlighted by Jason Thompson, President of the Barbados Association of Masqueraders. These decisions aren’t just about the merriment of the masqueraders; they also focus on the economic well-being and livelihood of the vendors. This is particularly crucial since vendors were hit hard in 2021 when the route was moved to the ABC highway. In essence, the intersection of sentimentality and economics in festival management underscores a complex interplay of values, priorities, and practical considerations. Successfully navigating this intersection requires a nuanced understanding of both cultural significance and economic dynamics, ensuring that the festival not only survives but thrives in the face of evolving challenges.
Finding Balance
Experiencing Crop Over from a consumer’s perspective is a joyous dive into a cherished tradition. However, an economic analysis offers a different lens. Behind the scenes, there’s a complex web of financial considerations—budgeting, pricing strategies, sponsorship deals, and logistical costs. While consumers revel in the festivities, organizers grapple with balancing emotional resonance and economic viability. A balancing act that is no small feat. From ticket prices to vendor fees, every decision impacts the festival’s financial health and sustainability.
Reflection
Reflecting on my experiences, my view of Crop Over has evolved. Initially, I was captivated purely by the sensory delight and emotional connection. Over time, as I’ve come to understand the economic intricacies, I appreciate the festival’s resilience and adaptability even more. It is a complex economic entity requiring meticulous planning and strategic financial decisions to thrive.
Crop Over epitomizes the heart and soul of Barbados, showcasing our creativity, and community spirit. Its continued success hinges on our ability to innovate while preserving its unique essence. More than just a festival, Crop Over celebrates our identity and enduring spirit. By navigating future challenges and opportunities, we can ensure it remains a beloved tradition for generations to come.
Cultural Diversity On Full Display, Celebrating The Samburu And Maasai Heritage
The Maa Cultural Festival was back for its second edition, running from November 6 to November 10 at the scenic Samburu National Reserve. The festiva was held over five vibrant days showcased rich traditions as well as the cultural brilliance of the Samburu people and their Maasai neighbours. It drew attendees from Kajiado, Narok, Laikipia, Marsabit, Isiolo, and Nakuru.
The celebration displayed Maa’s unique traditions through dances, music and art. Visitors immersed themselves in authentic cultural experiences, sampling traditional meals like nyama choma and boiled meat with soup; a true gastronomic delight that enriched the cultural journey.
Along with dance music and art there was a vibrant display of Kenya’s cultural dressing as attendees bedecked themselves in beautiful beaded art worn around their necks, arms and on their garments.
Parish Ambassadors, representing the eleven parishes will show their talent, costumes and formal attire this Saturday November 16th evening at the Garfield Sobers Gymnasium the show begins at 6 pm.