Editorial | Building Jamaica’s creative economy

The staging of the Lost in Time reggae festival last weekend was more than a well-produced entertainment event. It demonstrated what becomes possible when Jamaican creativity is matched by professional organisation, commercial discipline and strategic planning.

From ticketing and sponsorship integration to digital marketing and stage production, the event, organised by the reggae/dancehall singer Protoje (Oje Ken Ollivierre), reflected the standards expected in globally competitive creative markets. It reinforced an important truth: Jamaica does not lack talent. What the country must strengthen is the structure that allows creativity to generate sustained economic value.

If Jamaica is serious about converting its immense cultural influence into jobs, export earnings and investment, the orange economy must be treated as a formal industry. That requires institutional coordination, enabling regulations, professional management and strong intellectual property protection. Creativity alone generates admiration; structured creativity generates GDP.

On the latter front, there is encouraging policy momentum. The updated National Policy for Culture, Entertainment and the Creative Economy 2025–2035 marks an important step in repositioning culture as a driver of economic development, rather than solely a vehicle for national identity. The policy signals the Government’s intent to formalise and expand the sector, recognising its potential to generate employment, stimulate entrepreneurship and increase foreign exchange earnings.

Supporting this policy shift is the promised establishment of the Institute for Cultural Practitioners, Innovators, Entertainers and Creatives (ICPIEC). The institute is expected to provide structured education and professional development across multiple disciplines – from music and visual arts to digital technology, gastronomy and archaeology. By building a pipeline of skilled practitioners and industry professionals, the ICPIEC will strengthen the foundation upon which the creative economy can grow.

COORDINATED GOVERNANCE

However, policy and institutions must operate within a coordinated governance framework. A dedicated Creative Industries Council – bringing together the ministries responsible for culture, finance, tourism, education, technology and industry – could align incentives, training, investment promotion and export development.

Another gap is the absence of reliable, routinely published data on the creative industries’ contribution to GDP, employment and exports. Without data, the sector remains culturally celebrated but economically undervalued.

Countries that have successfully developed their creative economies measure them carefully. In the United Kingdom, the UK Department for Digital, Culture, Media & Sport tracks the sector’s economic performance, allowing policymakers to demonstrate its contribution to national growth. Jamaica must develop similar statistical systems to properly quantify the value of its creative sector.

At the heart of the creative economy lies intellectual property. Copyright, neighbouring rights, trademarks and design protections are the mechanisms that transform creative expression into recurring income.

Jamaica’s cultural influence, especially in music, has shaped global genres, yet much of the long-term revenue generated from this influence has accrued outside the island. Strengthening copyright enforcement, modernising collective management systems and educating creatives about intellectual property rights are therefore essential.

France provides a useful example of how policy can reinforce this framework. Through the Centre National du Cinéma et de l’image animée, France reinvests levies from distributors and broadcasters back into film production, creating sustainable financing.

CORE COMPONENT

Further, training in these professions must become a core component of Jamaica’s creative development strategy. Creative industries require a network of specialised professionals – artiste managers, booking agents, publishers, entertainment lawyers and digital strategists. These intermediaries help artistes secure opportunities and maximise revenue streams.

Institutions such as the ICPIEC can offer programmes in artiste management, publishing administration and live-event production, while universities integrate creative enterprise management into their curricula. We welcome The University of the West Indies’ initiative in this regard.

Ireland provides another instructive model. Screen Ireland has helped build a globally recognised film and television sector by combining production funding, skills training and international co-production strategies.

The future of the creative industries is closely tied to digital technology. Streaming platforms, online marketplaces and data-driven marketing now determine global reach. Jamaican creatives must master these platforms to expand audiences and revenue streams.

The sector must also focus on building exportable products and experiences. Music catalogues, films, fashion brands and cultural festivals can all be positioned within international markets. The tourism sector offers a powerful platform for this integration, transforming culture into a core component of the visitor economy.

Access to capital remains a challenge. Creative projects often involve long development periods and unpredictable revenue cycles, making traditional lenders cautious. Jamaica could explore dedicated creative industry funds and targeted investment incentives to mobilise private capital.

For Jamaica to unlock the full potential of its creative industries, development must occur across the entire value chain – from ideation and skills development to production, commercialisation and export. The National Policy 2025–2035 provides strategic direction, while the ICPIEC strengthens the skills pipeline.

The success of the Lost in Time festival illustrates what happens when creativity is supported by professionalism. So, we repeat: Jamaica’s cultural capital is globally recognised. With the right policies, institutions and investment, the country can convert that influence into sustained economic prosperity.