Maroc - NEWSDAY.CO.TT - A la Une - 03/Jan 04:35

What do we know?

DARA E HEALY A people’s art is the genesis of their freedom. – Claudia Jones IN TIMES of distress, it is often the responsibility of artists to offer solace and clarity. “What do we know?” is a question that journalists would ask during situations of intense trauma, such as a natural disaster or a mass shooting event. In the 1950s, as the UK was shaken by race-based attacks on people of Caribbean heritage by white British citizens, Claudia Jones recognised the critical role of culture and Carnival in restoring calm. Claudia – a powerful woman who grew up in Belmont – knew that to shift the conversation away from differences, she needed to demonstrate commonalities and connections. Her idea to root peace in expressions of Carnival was the foundation for the internationally famous Notting Hill Carnival still celebrated today. Many of the creative people who transitioned in 2025 understood the importance of Carnival and the creative sector in not just building, but strengthening community through the arts. Wendy Kalicharan worked tirelessly with her husband and team to create a particular kind of conversation about masquerade, rooted in entrepreneurship and family. Jason Griffith, pioneer and visionary in the area of sailor mas. Susan Maicoo, well-known and respected parang singer. Danielle Diffenthaller, celebrated for her contributions to local content for television, to mention a few. These artists also understood the mantra of esteemed theatre practitioner Slade Hopkinson – “do the work and the rewards will come, if and when they come.” That is, the substance of the role, character and message must take precedence over ego, fame or personal recognition. In 2026 this principle will continue to be tested in ways that recall the struggles of Carnival practitioners from as far back as the 1800s. Back then, social elites and the colonial government deemed Carnival and other creative expressions of ordinary people to be offensive. Thus, as part of ongoing attempts to control and tame the celebration, Carnival was sanitised and legalised to curtail the masquerade and force it to conform to certain perceptions of decency. Then as now, remuneration was wielded as a tool of control. Prize money, sponsorships and other financial devices were distributed or withheld based on the mandates of the sponsors. But not everyone was silenced. Masquerades of resistance, from baby doll to pierrot and jab molassie, continued to be created. The banning of the drum led to music being created on biscuit tins, the covers of garbage bins and eventually oil drums. Today, the designation of an international day for the steelpan acknowledges the warriorhood of creatives and connection to ancestral groundings, even in the face of adversity. In 2026, artificial intelligence (AI) presents another looming threat relating to the rights of artists to their work and image. AI is undoubtedly a powerful tool for creatives, providing essential support for the creation of proposals and other strategic needs, to test ideas or assist with time-consuming administrative tasks. Yet, as Paul McCartney and other artists point out, the creation of entirely AI-generated music and performers directly infringes on the rights of artists to their image, voice, style of music, dress and other unique qualities. For now, this sophisticated form of theft has not touched soca, parang, calypso and other creative expressions that emanated from us. However, the ecosystem around the arts in this country is already so incredibly fragile and fragmented, will there be any protection for artists? Will anyone care? Still, it is heartening to see young people documenting the work of artists like Jit Samaroo, asking to join the cast of Kambule and actively joining steelbands across the country. In his 80s, Jackie Hinkson is still drawing and creating, doing the necessary, important work. As we face a world that is increasingly hostile to the arts, we need to focus on creating content for children. In some ways we have to start again and truly understand the purpose of our work. We must harness technology not only to protect and preserve our culture, but to build on the foundation of Claudia, Jason, Attila and the others who defended our culture over the centuries. So, what do we know? As artists, we know that we must do the work, to uplift ourselves, our community and this nation that continues to be resilient even in the harshest of times. We know that art is still the genesis of our freedom. 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 What do we know? appeared first on Trinidad and Tobago Newsday.