The Music Industry in Trinidad and Tobago By: Ralph Henry Kairi Consultants Limited 14 Cochrane Street, Tunapuna, Trinidad, WI Email: [email protected] Website: www.kairi.com Alvin Daniell President Major & Minor Productions Limited 52 Victoria Gardens South, Trinidad, WI Email: [email protected] Website: www.majorandminor.com Stein Trotman Policy Research & Development Institute Scarborough, Tobago, WI Contents The Music Industry in Trinidad and Tobago i 1. BACKGROUND: ............................................................................................................. 1 2. MUSICAL GENRES ........................................................................................................ 4 3. STRUCTURE OF THE MUS IC INDUSTRY IN TRINI DAD AND TOBAGO ......... 6 3.1 DATA SOURCES : ................................................................................................................ 6 4. MANUF ACTURING/RECORDING: ............................................................................ 7 5. RECORDING STUDIOS (R ENTAL) ............................................................................ 9 6. MUSIC PUBLISHING ................................................................................................... 10 7. LIVE PERFORMANCES ............................................................................................. 10 7.1 MUSICAL INSTRUMENTS ................................................................................................. 16 7.2 COPYRIGHT ..................................................................................................................... 17 8. SALE AND RENTAL OF MUSICAL INSTRUMENTS ............................................ 18 8.1 SALE ................................................................................................................................. 18 8.2 RENTAL ............................................................................................................................ 19 9. OTHER SERVICES ....................................................................................................... 19 9.1 MUSIC EDUCATION ......................................................................................................... 19 9.1.1 MUSIC TEACHERS ........................................................................................................ 19 9.1.2 AGENTS .......................................................................................................................... 20 9.2 MUSIC FOR FILM & TV .................................................................................................. 20 9.3 TOURISM RELATED MUSIC EVENTS .............................................................................. 20 9.3.1 CARNIVAL ..................................................................................................................... 20 9.3.2 TOBAGO TOURISM ....................................................................................................... 24 9.3.3 PAN ON THE MOVE ...................................................................................................... 25 9.3.4 PAN RAMAJAY .............................................................................................................. 25 The Music Industry in Trinidad and Tobago ii 9.3.5 STEEL BAND FESTIVAL .............................................................................................. 25 10. SOURCES OF REVENUE IN THE MUSIC INDUSTRY ......................................... 25 10.1 VISIBLE EARNINGS .......................................................................................................... 25 10.1.1 THE FTAA HEMISPHERIC DATA ........................................................................... 25 10.1.2 INFORMATION FROM COTT .................................................................................. 27 10.1.3 INVISIBLE EARNINGS ............................................................................................. 27 10.2 ROYALTIES ...................................................................................................................... 27 10.2.1 DOMESTIC EARNINGS ............................................................................................ 27 10.2.2 OVERSEAS EARNINGS ............................................................................................ 30 11. REGULATION AND F ACILITATION ............................................................................. 30 12. SUMMARY ............................................................................................................................ 32 BIBLIOGRAPHY ....................................................................................................................... 36 The Music Industry in Trinidad and Tobago iii List of Tables Table 1: Genres and Major Performers ....... 5 Table 2: Range in Average Income in US $ of Publishers .............................. 10 Table 3: Distribution of Earnings Per week in US $ for Calypsonians in Typical Tent 11 Table 4: Visitor Expenditure for Carnival Season, Trinidad and Tobago, 1997 and 1998 ................................ ........ 21 Table 5: Visitors to Trinidad Carnival by Origin ................................ .. 21 Table 6: The Percentage of Local Music in Radio Air Play, Trinidad and Tobago, 1997 ................................ ........ 22 Table 7 : The Percentage of Local Music in Radio Air Play, Trinidad and Tobago, 1999 ................................ ........ 24 Table 8: Hemispheric Data on Imports and Exports Trinidad and Tobago ............. 26 Table 9: Incomes, Expenses and Distributions of COTT, 1990 -1998 ...................... 29 The Music Industry in Trinidad and Tobago iv Table 10: Radio Broadcaster s in Trinidad and Tobago (April 2000) ..................... 30 Table 11: Television and Cable/Satellite Statistics, Trinidad and Tobago, 1999 ... 30 Tab le 12: Contribution of the Creative Services Sector to GDP 1986 -1998 – Trinidad and Tobago at constant 1985 Prices ($TT million) .................... 31 The Music Industry in Trinidad and Tobago v Glossary of Terms COTT Copyright Organisation of Trinidad and Tobago CSO Central Statistic al Office EIDECO Entertainment Industry Development Company TUCO Trinidad and Tobago Unified Calypsonians Organisation TIDCO Tourism & Industrial Development Company Limited FTAA Free Trade Area of the Americas The Music Industry in Trinidad and Tobago vi 1. Background: The objective of this project is to assess the contribution of the Music Industry in national development of Trinidad and Tobago, and as an element in export competitiveness of Caribbean products and services. On the one hand, it seeks to identify the products and services and to a ssess the nature and structure on the supply side. On the demand side, it seeks to identify the factors that may contribute to the expansion of demand both in the domestic, regional and wider international markets. The first step in the assessment is an understanding of the nature of cultural products in an economy. Three elements need to be addressed in undertaking research on the sector – demand, supply, and the structure of production in terms of firm type that emerges to satisfy demand. Demand: Products and services can be defined in respect of a demand in the market place for the output. There are five consumption values that may drive the process through which consumers seek to acquire or access particular goods and services. In other words, a consumer’s decision will be dictated by one or more of these values: • Functional value • Social value • Emotional value • Epistemic value • Conditional value Functional value conforms to the notion implicit in rational choice of economic man as defined by economists. Social value derives from the association in the use of a good with particular social groups in society. Conspicuous consumption has many of the elements of social value. Emotional value relates to the affective state that is evoked in the use or in the access to a good or service. Epistemic value refers to the satisfaction that comes from acquiring new knowledge or from the novelty factor in a new experience. Conditional value, as the name implies, refers to the fact that the use of a good may be con ditioned by the use of another. Matches go with cigarettes. Music goes with festivals and party -time. In establishing the demand for culture goods like music, it is necessary to examine the probable factors that create the demand. There are the issues of disposable The Music Industry in Trinidad and Tobago 1 income, income elasticity of demand and taste that influence the quantum purchased. Taste is driven by a range of socio-psychological factors that lie outside the realm of economics but impact on the economics of the product. However, it must be emphasized that there is culture in all goods and services, and even what is defined solely in functional terms, is a function of culture. In other words, culture defines function. So called ‘cultural goods and services’ may derive value from social and e motional elements, and to a lesser extent, from epistemic factors. For example, outside of the Caribbean, Pan has had an epistemic quality in that there remains a novelty factor for the many who would not have known that music of the highest quality could be generated from converted oil drums. For the Trinidadian, and to some extent, the Tobagonian, and for many years, it carried emotional and conditional value. Party time was associated with