Developing Entrepreneurism in The Bahamas

This article was originally published in the Caribbean Journal  on July 31, 2012

 

On July 19th, panellists got together at tmg* talks to discuss entrepreneurism and the creative class in The Bahamas. On the panel were Edward Rolle, a board member of the Bahamas Entrepreneurial Venture Fund Limited (BEVFL), Chester Cooper, the President of Bahamas Chamber of Commerce and Employers’ Confederation, Jaime Lewis,  President of Islandz Market, a local company and Dr. Basil Springer, a board Member of the Barbados Entrepreneurs’ Venture Capital Fund.

In a Bahamian utopia, we would have had a discussion about nuanced ways to enhance the entrepreneurial culture and heard about the wealth of ideas and entrepreneurs simply waiting to be matched with funding and mentors. It seems that there are available avenues for funding start-up businesses but a dearth of viable business ideas. In contrast, Barbados, which has taken a holistic approach to entrepreneurial development, has organisations such as the Barbados Entrepreneurial  Foundation,  which nurtures and mentors entrepreneurs, and the Caribbean Business Enterprise model which takes supports entrepreneurs through the funding and mentorship.  The challenge in Barbados is that there are many great, viable ideas but insufficient funding.

The ‘Singapore of The Caribbean’

Why is this significant? At a glance, The Bahamas and Barbados have similar economic histories. Both countries have evolved through agricultural and service-based economies. However, the government and the private sector in Barbados have made a conscious decision to move to more complex knowledge and creative economies. According to Dr. Springer, the vision for Barbados was to make it “the Singapore of The Caribbean”  and thus began the long term planning to make Barbados the “best place for entrepreneurs in the world by 2020”, resulting in what seems to be greater number of potential entrepreneurs with innovative ideas.

While there are successful entrepreneurs in The Bahamas, these people have succeeded despite our general culture towards entrepreneurism, not as a result of it. Undoubtedly, there are myriad reasons to explain why our culture of entrepreneurism is not where we want it to be. Some key ideas emerged organically at tmg* talks:

Entrepreneurial Vision – The Bahamas has the funds available to help businesses but needs a holistic plan to sustainably develop entrepreneurism. Education, mentorship, research and development and better market conditions are all necessary to create the right culture. The entrepreneurial vision should be a national one.

Cultural Aversion to Risk and Failure – Bahamians tend to want to take the safe route and see failure as a something to be avoided. Perhaps this is because the safe route has always existed without much effort. There’s always a job at a hotel or in finance that pays relatively well.  We haven’t really had the need (or desire?) to be terribly innovative and thus our tacit avoidance of risk and the potential for failure.

Traditional Economy Mindset – All of the examples given of businesses that were helped by the Bahamas Entrepreneurial Venture Fund were based on older economic models. This implies that few business plans are for companies creating intellectual capital. On the other hand, in Barbados, the entrepreneurial industry trends include Information Communication and Technology (ICT) which is one of the largest wealth creators in the United Kingdom, culinary arts, fine arts, music, film and fashion.

Innovation, Creativity and Change

As the president of the Chamber of Commerce and Employers’ Confederation pointed out, entrepreneurism is not only for start-ups. Indeed, as a country we also suffer from a lack of creative thinking and innovation in established businesses and government. But innovation follows open thinking, diversity of opinions and collaborative efforts and this is all too rare in The Bahamas.   Following this logic, one can conclude that in order to change the way we think about entrepreneurship means that we need to change the existing paradigm about innovation, creativity  and change. In the end, organisations in the business of nurturing entrepreneurship should themselves start to think like entrepreneurs.

 

Royann Dean is the principal of tmg*, a marketing strategy, branding and design agency in Nassau, Bahamas.

Find out more information about tmg* talks at www.tmginnovates.com

Follow on Twitter @tmginnovates.com 

tmg* talks – Architecture, Design + Sustainable Development

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The first tmg*  talks of the 2012 series featured panellists Nick Dean, a civil and structural engineer, Franon Wilson, a real estate developer and Carlos Hepburn, an architect. The room at the National Art Gallery in which the talks were held was so full that latecomers were relegated to standing room only.

The panellists noted that this was the first time that they have had a multi-disciplinary conversation to discuss objectives and challenges regarding architecture, design and sustainable development. The desire for tangible, effective change was palpable.

The key takeout was that the key challenge facing better design and sustainable development is a lack of adequate planning and subsequent policy adaptation on the part of government ministries. Seemingly, policy makers in The Bahamas often do not consult with the relevant stakeholders and consider their holistic, long-term needs in the development of those policies. Moreover, they can be slow to adapt these policies to meet the changing needs of those stakeholders. In this instance, the result is a de facto price barrier to eco-friendly practices and a general lack of public education on the benefits of good design in our living spaces.

All members of the private sector, the panellists readily conceded that business owners and industry organisations are not pushing for sustainable development policies, probably because they fear change.

We all know when something is not working but we don’t all know that reason it doesn’t work or what can be done to make that thing right.  At forums like tmg* talks, which provide the opportunity to articulate our thoughts and examine these challenges holistically, what happens is an enthusiastic, collaborative effort to make things better for The Bahamas. In the age of educated consumers and the availability of information, we know the significance of our engagement and we deserve to be a part of a constructive improvement process.

What’s going to happen now? All of these great ideas will not go to waste. They will go forward, with the support of the panellists, to the appropriate governmental ministries and private sector organisations. It is hoped that these ideas can be used to drive multi-disciplinary, collaborative efforts towards better policies, planning, design and sustainable development.

Whatever the results of tmg* talks, it is but a small step to becoming more competitive in a global economy that values creativity and innovation. Innovative cultures are not afraid to think critically  and to dream big.  The cities in which this type of culture thrives have a sense of place and encourage people from different industries to share knowledge and solve complex problems. Peter Kageyama describes the creative city as a feeling of momentum, of something interesting about to happen.

This is where we should aspire to be.


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Lessons from the East (and it’s not China)

Recently on ESPN, I watched Tennis Pon De Rock, a tennis event in that took place in November 2011 in Barbados. The event featured top international tennis stars such as Venus Williams (USA), Gael Monfils (France), Victoria Azarenka (Belarus) and John Isner (USA).

The broadcast showed these stars having fun playing doubles at the indoor tennis facility, hitting with the local kids and talking about how much they loved being in Barbados, even stating enthusiastically that they would definitely come back. One player even went so far to say that she would think about purchasing a home there. Watching all of this really made me want to go to Barbados. I put myself into the story of an active yet relaxing holiday in a beautiful location, staying at a rustic, island-looking resort, going to very cool restaurants and playing tennis. Then it hit me…that should be somewhere in The Bahamas but, alas, it’s not.

During the hour long commercial broadcast, information about progressive steps taken by the Barbadian government and private sectors suddenly came together in my head like a puzzle. A giant, holistic, strategic, locally-adapted policy puzzle.

REALISING THE ECONOMIC VALUE IN CREATIVITY AND DIVERSIFICATION
To wit, Tennis Pon De Rock portrayed Barbados as a destination for people who have adequate discretionary income, love the carefree sense of Caribbean living and enjoy an active lifestyles. Importantly, it also showed Barbados as a distinctive destination in the region. It wasn’t all about a generic, tropicalised version of the sun, sand and sea that we have generally internalised as our best offering in The Bahamas.

Barbados has also taken an aggressive approach towards growing its creative economy and developing its creative class, implementing policies that take advantage of the CARIFROUM-EU Economic Partnership Agreement. This agreement allows Caribbean investment in European creative services and makes it easier to supply those services to the European market. In short, it provides easer market access and facilitates the formation strategic partnerships between Barbados and Europe for services from architecture to music. Barbados has also passed a Cultural Industries Development Bill which encourages private sector investment in the creative industries by using tax incentives for investments which support those industries.

With regards to nurturing the entrepreneurial nature of the creative class, the Barbados Entrepreneurship Foundation is basically laying the foundation for a bright future. Its vision is to “create the nurturing business culture that will make Barbados become the number one entrepreneurial hub in the world by 2020.” The Foundation is also encouraging young people to develop a sense of independence and entrepreneurship, something is that espoused by Richard Florida as a characteristic of the creative class.

The Bahamas does have programmes in place that support (some) entrepreneurs but how effective are they? And there isn’t much support for the creative industries although there is lots of creative talent and potential. Why does it seem that Barbados more advanced than we are when it comes to sustainable economic development although the countries seem quite similar on the surface?

UPON CLOSER INSPECTION…
According to the CIA Factbook, Barbados has a colonial history which mirrors that of The Bahamas. The country achieved independence in 1966 and, like our own country, depends on the tourism and offshore financial services industries as major contributors to the economy. Barbados has a population of about 287,000, slightly less than that of The Bahamas. Both countries have a comparatively high standard of living and literacy rates. One of the most obvious differences is that Barbados is the eastern most Caribbean island and we have always enjoyed our proximity to the United States.

My hypothesis is that we don’t focus on policy making and strategic planning that requires innovation or that risks raising the ire of certain voting blocks. It appears as though we live with the belief that our convenient sun, sand and sea will always be our ace in the hole.

By planning for future decades and developing a strong creative class, Barbados is building a culture of people who think critically, try to solve complex challenges and understand their place in a global economy. How many of us can say the same of The Bahamas?


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The Living Stories of Shang Xia

By Vera Kwok
tmg* Collaborator

Having lived in Shanghai for a year, I have been meaning to drop by the high-end retailer Shang Xia, which is the brainchild of French fashion house Hermès and headed by Jiang Qionger, a French educated Shanghainese designer. In the city where there are always things to do and places to see, it actually took an out-of-town visitor to finally get me to make it to the flagship at the Hong Kong Plaza in HuaiHai Middle Road.

The brand philosophy of ShangXia (which translates to ‘Up, Down’ in English) speaks of the past and future,the heritage and the contemporary, traditional craftsmanship and contemporary design, the marriage between Western luxury and Eastern aesthetic. The beautifully designed flagship store embodies the brand philosophy. The cave-like yet airy origami-inspired structure created from perforated white polyester covering the walls and ceilings; light-coloured wooden floor and store fittings; the minimal application of the brand’s visual identity, each corner of the flagship’s interior is well thought and carefully designed to the very last detail. Served with a cup of Pu-Erh in delicate tiny cups freshly brewed on ShangXia’s contemporary interpretation of the tea ceremony table, we leisurely browsed and oohed and aahed at the store and products on display.

The products themselves are quite of out of this world, from the exquisitely built Ming-style wooden furniture to a set of ceramic teaware enveloped in delicately hand woven bamboo strips; from the woollen, Mao-inspired navy jackets with hand-finished red stitching crafted by Indian clothing artisans, to seamless outerwear made of cashmere felt hand-tufted by Mongolian craftswomen; each piece is a realisation of the ShangXia philosophy. If I have to pick one favourite, it would be the paper-thin, almost weightless set of ceramic bowls, which upon a light tap produce a haunting note reminiscent of that of a Buddhist temple’s bells. Completely unusable as dinnerware, each piece was created by local artisans, who, as legend has it, can’t help but hold their breaths while crafting each piece.

While each beautiful piece displays an unquestionable level of craftsmanship, it was the unwritten stories that left the deepest impression. Expertly and proudly told by ridiculously charming sales associates–nay, storytellers–each piece was made to come to live by each tale.

A newly established luxury brand under the Hermès umbrella, Shang Xia was designed to stand on its own. Not a single trace of the parent brand was made apparent in the store and products, not even the iconic Hermès orange – a risky strategic move perhaps. One could question the decision to omit the parent brand’s established status and reputation, which is generally considered the sensible thing to do. Instead, at Shang Xia storytelling serves as the driving strategy – stories of China, of its people, its history and tradition, shaping its present and informing its future.

The sense of nostalgia through storytelling was also narrated through its first exhibition aptly titled ‘Pass it On’, which took place in the flagship store early this year. Shang Xia’s two-year journey gathering a collection of stories, old photographs and daily objects from people around China, was presented as limited edition boxes containing a beautifully printed book and two English and French booklets, with a hidden compartment concealing an iconic Chinese Young Pioneer’s League red scarf, a plane model made out of tin, glass marbles, an old train ticket, and a reproduction of a letter written by a 21-year old Chinese girl, replying to a letter written by her 17-year old self. A box of memories and stories of China and its people told through objects, yours to keep for RMB 1300.

Although essentially revolving around China and its objects and craftsmanship history, the overall execution of Shang Xia’s strategy does not end with China itself. The origami-inspired walls and ceiling and one of its fine jewellery line are clearly of Japanese origin; the aforementioned Mao-inspired jacket was handcrafted in India. One of the sales associates mentioned Shang Xia’s ongoing intention of sourcing the best materials and artisans from all over Asia. An intriguing study in transculturation in design indeed, Shang Xia seems to look beyond China in crafting memories and creating new stories of a contemporary China. One red string that binds each embodiment of the Shang Xia’s brand philosophy seems to be its stories, breathing lives into each object, into the experience of being in its space.

*All photos are from the Shang Xia website


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International Conference of Interaction Design 2011: ‘Moving Beyond Posters and Toasters’

By Vera Kwok

I’m a designer.

I play video games, I design brands and shoes and I am fascinated by technology. I love it when form and function come together.

But it doesn’t take a degree in design to know that design is still mainly associated with artefacts. The contribution of design to our everyday lives is unarguably most visible in the tangible things – what we read, wear, sit on, play with, the list goes on. When we think about interaction design, we often generalise it as existing in the digital domain of interactive products, systems, interface and environment.

Yes, design gives ideas their form and it is truly good at that. What is often overlooked is that at the heart of it all, design is essentially about us and our experiences; how we interact not just with products and places, but also with other people. I recently attended the ICID conference in Hong Kong to find out the latest developments on interaction design.

At the conference, I was immersed in discussions on the multifaceted role of design in our lives; designing beyond posters and toasters indeed. Design plays a fundamental role in creating preferred user experiences and, moving beyond the traditional notion of the designed artefacts, it is morphing into means for societal transformation.

The conference featured dynamic speakers working in a wide range of cutting-edge research. Gino Yu of Hong Kong Polytechnic, who works in the engineering of human enlightenment, is questioning the use of media in unconditioning a conditioned belief system. Jodi Forlizzi of MIT, who works with robots, seeks the use of autonomous technology for empowerment, opening up the dialectic in ethics of autonomy and control and responsibility in design. Ron Wakkary of Simon Fraser in his research of “everyday design” reminds us that we are all designers; through our everyday use and appropriations, we contribute to the ongoing design of our everyday artefacts and surroundings.

Organisational Problems are Opportunities for Design
In our schools, communities, workplaces and governments, Tim Fife from Second Road sees organisational problems as opportunities for design. Human systems are essentially “all the social issues that bind organisations together, and they are as designable as any technical systems”. Strategies can and need to be designed, not around profit and numbers, but around the stakeholders. “Profit should exist as a measurement, but it should not be the actual purpose of the business. The noble purpose of any businesses should be deeper than that: it is to produce and distribute goods and services to people.”

Applying design and its human-centred philosophy in tackling issues and problems of businesses and organisations, Richard Buchanan from Case Western Reserve University further argued that organisations themselves are the most important design of the 20th century. From Plato’s musings in Republic to Adam Smith’s division of labour theory to the application of Ford’s assembly line, organisations have a fixation on efficiency. As a result, people, the most important part of the system, are often forgotten. What design is really good at is ecologically framing these organisational and societal problems through understanding the relationships between all parts of the system.


John Thackara, speaking through Skype from Vienna, further opened up the discussion of the troubled state of our world. We all are very well aware of the bad news: the global crisis in oil production, food distribution, water, money, civilisation–what we need to ask ourselves is how could social design help in alleviating some, or hopefully all, of these problems. Dubbing himself as the optimistic doomer, Thackara reminds us what social interaction design truly should be: “…it is the act of designing interactions to help people to meet their needs better, more effectively, and with more joy.”

Design is About Serving Human Beings
My domain is not in interaction design but rather in design management. Nevertheless, it was great to see the same ideologies and philosophies being applied in interaction design. Different terminology perhaps, but at the end of the day, as Richard Buchanan said, what matters is “design is about serving human beings, it is about advancing the dignity of people”. Towards the closing, he reminded us that “interaction designers are cultural explorers and explorers of value”. I call on other designers to ponder this challenge, not just those who professionally work in interaction design but every one of us because, as Wakkary argues, we are all designers.

What I learned from the conference is that design has a moral purpose – to serve people. It helps us to both find delights in our everyday lives and to remind us of the responsibilities that we have towards others and our community.

Now, more than ever, we seek to create meanings to make sense of an increasingly complex world. We need to ask ourselves how, through design, can we help people in finding delights in their everyday lives; to relish in their responsibilities toward others in their respective communities and in society at large. It’s possible that the real question is how, through design, do we remind ourselves and others that it is a truly great time to be alive.

Enjoy the gallery of low-res photos artfully taken with my iPhone!


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Humanizing Brands, Humanizing Ourselves: BRANDSconf #140 NYC

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The chances are that a large part of your day is spent online, in transit or doing activities that don’t build connections in real time. Consumer theorists tell us that the more objects we have available to us the more we seek customisation in our consumption choices and relationships with the brands we choose. There’s even more of a rationale for this theory with the dominance of social media in our work and social lives.

The Brandsconf #140 held recently in New York explored an interesting aspect of branding – humanising them. The conference covered topics such as brand conversations, using storytelling, building brands and even divorcing brands.

During the conference everyone tweeted profusely and networked in the lounge while charging their computers or recharging themselves thanks to the copious amounts of coffee and delicious chocolate chip cookies (Thanks, Double Tree!). Even at the conference, while there were real people on the stage, having real conversations, we were tweeting away to our followers about what was happening at the conference. In the networking lounge, we were having the usual cursory conversations one has at these things. As the conference went on throughout the day, I thought about the concept of humanization and relationships. Our lives involve relationships but lots of those can be fleeting.

Is it that we spend so much time connected to stuff – our phones, laptops, iPads, Kindles, clothes, blogs – that we not only identify ourselves in those things and want others to identify us through them but also that we feel personally bonded to them and therefore want them to be more human? Are we looking to feel a connection brands because we want to feel more connected to ourselves and to a community?

The qualities of a relationship that we week with brands are the same as those we seek with people. Rohit Bhargava of Ogilvy, who spoke about creating more human brands, said that marketing has a believability crisis and suggested that it’s just “the icing on a crap cake.” Speakers from a cross section of established brands such as Pepsico, ESPN, IBM, Billboard and Gap,Inc. shared the stage with those from small and start-up brands such as Brandstoria, Marla Cielo, Sweet Soaps and Skillshare. Across industries as diverse as telecommunications, fashion, music and beverages the common sentiment was that brands need a human put a human voice to a human experience. It’s simply not enough for companies to invest only in the process of providing goods or services. Consumers have a pretty accurate b.s. detector – we don’t tolerate fake friends and increasingly, we don’t want fake brands.

Coming from a country where branding is not very well established, I’ve seen companies attempt to use marketing as a veneer to cover up service and branding issues. The marketing promises one things but the service and experience don’t deliver and are definitely not humanised. This disconnect illustrate the fact that these companies completely miss the point that it’s important to be authentic and have a two-way dialogue with consumers in order to get them to trust and believe in the brand.

During his talk at the conference Ryan Osborn, director of social media at NBC News said that “personal is professional.” Consumers want to believe that there is a person on the other end of that brand communication. Someone who can empathise with them, support them and reinforce what they believe. At the end of the day, as consumers we just want to have a healthy relationship in which we are loved for who we are and treated with respect. The closer brands come to understanding this the more loyal we will be and the more we’ll love them back.

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Op-Ed: Royann Dean on Innovation and the Art of Failing Up

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This article was originally published in the Caribbean Journal on October 19, 2011

The death of Steve Jobs struck a nerve in the global community. In my lifetime, I cannot recall anyone who has been showered with such accolades from so many different parts of the world. He’s been called an innovator, a genius, a visionary and one of the best CEO’s of the modern age. The products that he created have not only revamped entire industries but changed the way we interact with technology and with each other. In the early 1980’s who would have thought that one day non- techies would swoon over electronic devices, wait in line for a new product they didn’t need and become fiercely loyal to a technology brand. There is no doubt; Steve Jobs was a game changer.

When Jobs was a young man, he once said that all he wanted to do was “put a ding in the universe.” What he had was a passion for what he did. He was not a designer or an engineer but he had an eye for how things should look and a feel for how things should work. He was also a relentless marketer, building the Apple brand into one which has come to represent the best in strategic design implementation.

In the 1990’s, Jobs was fired from Apple. When he found himself back at the company, he had a strong vision of what it needed to do to differentiate itself and to grow. He engaged multiple design disciplines to ensure that the products worked in ways that people could not previously imagine. And he also wanted them to look sleek. In short, he used design to make Apple’s products easy to integrate into our lives with minimal effort and more importantly, they made us look and feel, well, cool. Make no mistake, Jobs was by no means perfect. His employees and co-workers readily admit that he was not the easiest person with which to work. A perfectionist, he was a micromanager who could be rude, arrogant and think nothing of belittling his staff in meetings. His management style can be debated but undoubtedly, he was passionate about his work and had a strong, clear vision of what he wanted.


What Steve Jobs accomplished in his field is remarkable, but one could argue that he would have been successful in any area. Why? He was the quintessential entrepreneur. He wasn’t afraid to fail. Each time something didn’t work, he learned from the experience and made the necessary adjustments. Radio and broadcast journalist Tavis Smiley describes this as ‘failing up’. It’s likely that the culture in which Jobs grew up played a role his success. He grew up in California during the 1950’s and 1960’s, immersed in a culture that encouraged liberal thinking, innovation and creativity. It opened his thinking about what was possible and taught him that it was okay to change things.

Too often, we do not embrace innovation and lack passion about what we’re doing because we are afraid of failure. The Caribbean has its fair share of talented people but sometimes we do not have leaders or policies in our respective communities that that empower us, encourage innovation and entrepreneurship and embrace change. There is an institutionalised discouragement from challenging the norm and we are told to just fall in line. Admittedly, it can be rather difficult in some countries to be innovative in practice because of limited resources with regards to funding, advice and assistance. Moreover, the old guard will frequently hoard power and discourage ideas that disrupt the status quo if they think that they may become displaced. In a recent article, designer Bruce Nussbaum said that young creatives and new capitalists will drive change in business. Smarter technology and higher degrees of global connectivity as well as the development of creative industries make this a very realistic endeavour.

The next Steve Jobs per se may not come from the Caribbean. That’s not necessarily the goal. The point is that we learn from his life and realise why he so greatly impacted us. Essentially, be passionate, be smart, be brave, fail up and, to quote from that pivotal Apple campaign, “Think Different.”


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Op-Ed: Royann Dean on Building a Creative Economy in the Caribbean

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Cayman Enterprise City project

This article was originally published in the Caribbean Journal, September 23, 2011

Throughout election season in the region, we will inevitably hear talk about sustainable development. Sustainable is commonly synonymous with ‘environmental’ but also includes economic sustainability. Creativity is not likely to be a part of that discussion. But do we really understand creativity and its relevance to economic sustainability?

Creativity can be considered in three contexts, according to the United Nations Centre for Trade and Development (UNCTAD).The most commonly accepted is artistic creativity, which “involves imagination…originating ideas…and novel ways of interpreting the world.” Next, there is scientific creativity, which is thought of as “curiosity, the willingness to experiment and make new connections in problem solving.” Finally, there is economic creativity, which leads to “innovation in technology, business practices and marketing…and competitive advantages.”

Over the last decade or so, the interrelated nature of creativity and the creative process has come to be valued globally as a viable means of economic development. Creative economies have grown faster than national economies in several countries, giving rise to terms such as ‘creative economy’ and ‘creative industries’.

The creative economy is an evolving concept, one based on the notion of creative assets generating economic growth and development. And it’s not limited to the arts. Creative economy models include industries such as architecture, advertising, software and gaming.

As a region comprised of many small island states, the Caribbean is vulnerable to external economic factors due to a relatively low natural resource base and relative geographic isolation.
At a 2010 meeting of the Economic Commission for Latin America and the Caribbean (ECLAC), the body noted that some economies in the region have been somewhat sluggish due, in part, to a lack of competitiveness and encouragement of innovation and productivity.

There is a consensus that a long-term development strategy for sustainable growth is necessary for the region as a whole. ECLAC, UNCTAD, CARICOM and the Commonwealth Development Bank all acknowledge and support the development of creative economies as a part of such a strategy.
Moreover, research from CARICOM shows that the creative industries have emerged as a key growth sector in the Caribbean economy through their contribution to GDP, exports and employment as well as through an impact on destination and intellectual property branding.

Creative economies are particularly important for tourism-based economies. Dr Keith Nurse, director of the University of the West Indies’ Sridath Ramphal Centre for International Trade Law, Policy and Services, says that by introducing cultural and creative industries to tourism, these nations can reinforce a sense of self-identity and local added value to the tourism industry, thereby diversifying the product.
Some countries, such as Barbados, Jamaica, Trinidad and Tobago and the Dominican Republic, have made investments in developing creative industries. These countries have done more than make an investment in their economic development. They’ve also invested in the human development and social inclusion that can result from creative economies and nurturing a creative class.

According to economist Richard Florida, people who value meritocracy, innovation and diversity form a creative class which includes, among others, teachers, business people, lawyers and scientists. They live and thrive in cities which reflect those values and are always looking for new ways to do things and improve their surroundings. In short, they make creative cities because they question the status quo and are looking for new or better ways to do things. These cities then exude character and a sense of place, which reinforces creativity.

Creativity becomes a part of the culture and innovation increases, subsequently leading to direct and indirect forms of economic development. These are the cities in which people want to live, work and visit. These are the cities that are successful.

Creative industries will always be around in some form but unless there is a combination of public and private sector support, these industries cannot fully exploit their economic possibilities. If the Caribbean is to become more globally competitive, increase tourism, improve regional trade and maximise the investments made in its infrastructure and industries, creativity needs to be a part of the culture of its member countries.

If it wants to attract and retain people who can grow an equitable and sustainable economy, the Caribbean needs to encourage and use creativity and innovation. Otherwise, this region will continue to lose members of its creative class to countries in other parts of the world.

Royann Dean is a branding specialist and the principal of tmg*, a strategy and design firm in Nassau, the Bahamas. She can be contacted at royann@tmginnovates.com.
Note: the opinions expressed in Caribbean Journal op-eds are those of the author and do not necessarily reflect the views of the Caribbean Journal.


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Status Quo doesn’t win. Smart Wins.

How many times today have you encountered something that was not done correctly and, moreover, has stayed that in that condition because people have just accepted it that way? How many times have you thought, “This could be so simple to implement or change, why isn’t being done?” Sometimes, one must wonder how, as a nation, we have come to accept the notion that mediocrity is okay. How did it come to be that we have seemingly lowered our expectations?

Innovation, creativity and entrepreneurism are rooted in our history.

The Bahamas is a country where innovation, creativity and entrepreneurism are rooted in our history. The very basis of our main economic driver, the tourism industry, came about because Sir Stafford Sands thought of a way to sell The Bahamas as a tourist destination, beating the other countries in the region to the punch and creating a competitive advantage. It was innovative, it was bold and importantly, it was successful.

In his book Rise of the Creative Class (2004) Richard Florida defines the creative class as people who “engage in complex problem solving” and “favour hard work, challenge and stimulation.” They also have a sense of self-identity and value openness and collaboration.

In a March 2011 article in The Atlantic magazine, Florida postulates that the creative class in the Middle East, “spanning science, technology and engineering professionals, management and business executives, doctors, health care professionals and lawyers, as well as arts, culture and media workers” played a big role in bringing about the Arab Spring.

It can be argued that those were the qualities shared by the brave men and women who envisioned and pursued the course towards an independent Bahamas. These are the qualities shared by people who, regardless of their chosen profession, see their surroundings a little differently and want to make an impact, want to do something better.

A few months ago I was a guest on the Wendell Jones’ television show. During our discussion on the creative economy, Godfrey Eneas stated that he thought that the phone card vendors on the side of the road, stationed sometimes as close as 20 feet apart, were creative entrepreneurs because they were selling phone cards. I am still not sure about how this is so. Indeed, Mr. Eneas may be privy to insight that he has yet to share.

What I am sure about is that if this is indicative of what we have come to consider creative or innovative then we should close up shop and call it a day.

Is anyone asking the big questions?

Our dearth of abundant raw materials and cheap labour led us to innovation in the tourism industry. It’s time for more of that. Human capital remains our most abundant resource. How will that resource fare going forward in a global economy which is increasingly competitive and based on technology and experiences?
Policy makers in countries as diverse as Canada, The United Kingdom, The United States, Macau, Singapore, Barbados, St. Lucia and Jamaica and across Africa have all recognised the significance of innovation and creativity in the global economy. As a result, they have attempted to research creative economy models, gather information and invest in developing local industries and an educational system that will sustain those industries.

Yes, there are pressing issues such as crime which need to be addressed in the upcoming elections in 2012. These problems will exist in every election. Let us consider a longer term view Is anyone asking the big questions? What is the vision for The Bahamas? What are the plans for growing our economy to make it more competitive and diversified? Will there be a role for innovation going forward?

The modern economy values imagination and innovation. Look beyond the platitudes, beyond the mindless rhetoric. When you think about your place in the future of our country, don’t think about the title at your job, don’t think about how big you want your house to be and don’t think about ways a candidate can buy your vote. Imagine a Bahamas where innovation is valued and a culture in which it is supported.
Demand more. Be smart, be bold and start planning.*


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‘Creative economy’ expansion urged

Alison Lowe, a business reporter at The Tribune in Nassau, Bahamas, wrote a great article on tmg* talks and the creative economy.

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Alison Lowe, The Tribune – tmg Creative economy


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