- NEWSDAY.CO.TT - A la Une - Hier 04:38

Co-operatives and floaty dhotis

Dara E Healy “I think the IDC (Industrial Development Corporation) and EDC (Export Development Corporation) perspectives have to do with principles and practices and procedures that come from away, that don’t really apply to the system here. I think when we have the courage and the confidence to start studying ourselves as being able to throw up working models like Carnival, like the mas camp technique of doing things, then this industry as a business…well, it’s a little premature even to call it an industry. It’s just really a movement.” – Christopher Pinheiro, textile artist, actor, carnivalist and visionary IN THE early 1990s Christopher Pinheiro shared his frustrations with an interviewer. He lamented difficulties with accessing consistent supplies of materials and the disconnect between business structures and the creative sector. As we commemorate International Day of Cooperatives today, is it possible that a co-operative approach can help the creative sector move beyond these age-old obstacles and ultimately help artists to thrive? In TT, we have a vibrant credit union movement. Started in the early 1940s, citizens have more than 70 credit unions to choose from. For me, the credit union has always felt like a safe space, where you are treated with dignity and where it is possible to achieve your financial goals through careful money management. The secret is in the name. A credit union is about individuals working together to serve the common goals of the community. This year, the theme for the international celebration, “Cooperatives: Driving Inclusive and Sustainable Solutions for a Better World,” is especially resonant in light of current instability in our global environment. The UN has also declared 2025 the International Year of Cooperatives to underscore “the enduring global impact of cooperatives, positioning them as essential solutions to today's global challenges.” In particular, they are focusing on the growth and resilience of communities. Long before the credit union movement was established, our ancestors drew on their understanding of community sustainability through savings. Sou sou (on which the principle of credit unionism is based) comes from the ancient African Esusu. Indentured Indians understood the value of investing in land and precious metals, as well as being disciplined enough to save and send money to their families in India. The themes of inclusivity and sustainable growth are crucial for artists. Creative people have a right to choose to pursue their art full time, to work decent hours and earn enough for a good quality of life. Unfortunately, I see in many artists the frustration that Pinheiro expressed decades ago. The question of decent or fair work is a core pillar of the International Labour Organization. It speaks to ideas like having a consistent income that is based on accepted standards, feeling safe at work and being able to participate in the decisions that affect your work conditions and equality of opportunity. These are lofty ideals that are important and necessary. Yet, many in the creative sector face basic concerns of survival, from accessing a space to work, to earning enough to travel to different commitments. I have written previously that traditional concepts of unionism do not include or represent the welfare of creative workers. This ignores the reality that the arts and entertainment industry generates billions towards national economies, both locally and internationally. This fact should provide the impetus for the credit union movement to become more involved in supporting the work and aspirations of artists and the creative sector. However, for many, artists seem to have the same qualities as mythical beings; that is, we never need anything, and we exist in the realm of creative magic. The reality is that many of us are exhausted by the constant need to create in order to pay bills, as opposed to simply creating beautiful art. As Chris told the interviewer, he initially gave away much of what he created because “it was my hobby, my meditation.” Today we are focusing on credit unions, but there needs to be a vastly different ideology and approach to providing financial support for our creative sector. Uncle Chris did not live to see this change, but at least he seemed to find his peace in Canada. Hopefully we will find the courage to properly support our creative sector. It is what he would have wanted. It is what we need. Rest in peace and floaty dhotis, Uncle Chris. Love always, D. Dara E Healy is a performing artist and founder of the Idakeda Group, a cultural organisation dedicated to empowering communities through the arts The post Co-operatives and floaty dhotis appeared first on Trinidad and Tobago Newsday.