Culture Matters

Artists and the

Theatre of Cyberspace

DARA E HEALY

A more systemic transition is needed in which unsustainable practices - example vulnerable working situations, fragile remuneration structures - are replaced by more sustainable alternatives.

- European Parliament's Committee on Culture and Education

MY STOMACH twisted when I heard the news about Torrance Mohammed. Gone. His life cut short performing a kind act for a friend. I was not there, but I know that the person who pushed him did not intend to harm a national icon. I know, because I am sure that the man who pushed Torrance was not aware that this was a proud dancer, thespian, entrepreneur and innovator of the arts.

The suspect, known to the police, really just pushed an old, frail man; an easy target. Perhaps, if we valued our artists more and gave them priority in school curricula, the person who pushed Torrance would have known about his contributions to culture and the city of San Fernando. Perhaps, he would have reconsidered his act of violence.

As I reflected on how Torrance was treated, I thought of how essential artists have been in helping this country cope with the crisis caused by the pandemic. Our content, from music to films and literature, has been vital to supporting the community through isolation and a mental health crisis that is rearing its head. As we continue to explore different facets of protecting our creative sector, how do we treat with increased digitisation of content?

This week, two festivals are taking place online. One celebrating African film, the other, the folklore of TT through our local stories. Increasingly, content is critical to keeping our traditions alive, but it is also key to business success. The digitisation of creative expressions has been accelerated in order to meet the demands of a world that increasingly finds itself in front of a screen. While digitisation is inevitable, it has consequences for cultural practitioners who do not have opportunities to digitise their work or who depend on the holding of live events to survive.

Torrance Mohammed was one of the few practitioners who was able to fulfil his dream of being in the arts full-time. Many in his generation and even those who came after did not have that option. As a child, I observed the weariness of actors or dancers arriving for rehearsal after their formal jobs. For them, the arts were part-time, but only because there were few educational choices for the sector and because the arts were not seen as a viable way to earn a living.

Today, the arts are more accepted as a vocation, but are perhaps even less protected. The world within which the creative sector operates has already changed. In examining options for artists, is it possible that we are too late?

Maybe not. We have an opportunity to officially bring the arts in from the periphery. As festivals or other act