By Amina Blackwood Meeks, Contributor 
Blackwood Meeks
AS A nation, we still seem to be having a difficult time coming to terms with what it means to value the arts, in spite of a long and fine tradition of artistic outpourings.
Somewhere in trying to come to terms with whether and how to value the arts some art forms end up at the lowest end of the list of priorities. If we were to measure the value in national competitions, we would see that consistently drama, the literary forms are awarded the smallest trophies and certainly the smallest prize monies. Similarly on the electronic media, not much is heard from or about people who 'write' or 'talk'. What is the value of what they produce? Are they perceived as being in the business of production and, if so, what incentives should they be given and from whom to steer their business to success? Is there anything special in the fact that just about any night of the week one could attend a play at a theatre in Kingston? How much does it cost to maintain this as part of the tradition and who is paying?
Tallawah, the annual drama festival produced by the Phillip Sherlock Centre for the Creative Arts at the University of the West Indies, Mona, and which just concluded its 2004 staging provides another opportunity for some examination of not just what it costs to build and maintain theatre of excellence in Jamaica but also of what might be lost if it does not receive financial support.
Staff tutor in Drama and Festival Co-ordinator, Brian Heap informed us that in 2004, for its 33rd staging, Tallawah had 48 staged entries from which more than 21 trophies and prizes were awarded.
REMARKABLE
Mr. Heap assesses this as "Remarkable, in view of Ivan" But is so we stay, we tallawah, according to Cassidy a word with quite possibly Ewe roots, meaning 'sturdy, tough, not to be underestimated', ah so we stay, but it kean just stay so, it needs to be nurtured so that it remains part of the tradition which continues to add value to who we are as a people even if we have not yet found the way to factor it into the GDP.
In discussing the themes of the presentations this year Mr. Heap indicated that they highlighted some critical social and economic development issues such as "safe sex and condom use, violence by females as well as resistance to violence" for an audience that might not otherwise participate in such discussions, thus emphasising the educational role of theatre and its potential for helping to create the informed human resource base that is so central to 'developmental objectives'. Additionally, the productions showcased original creations of the participants even as they were facilitated to explore the works of great social commentators and contributors from around the Caribbean region such as Louise Bennett-Coverly, Joan Andrea Hutchinson, Easton Lee, Paul Keens Douglas and Jean 'Binta' Breeze who is, incidentally, a product of the Drama School.
TRAINING GROUND
The Drama School at the Edna Manley of the Visual and Performing Arts like the Phillip Sherlock Centre provides training ground for people with above average competencies in playwriting, production and related theatre experience. These people do not easily find gainful employment in these fields in spite of talk radio and the relative paucity of local programmes in form, style and content on local television. Long before that, however, they struggle to produce what some might enjoy as 'mere entertainment' en route to more serious engagement. Even if this were the entire truth the trophies alone for Tallawah 2004 still cost $50,000, posters and programmes still had to be produced and the centre absorbed the costs of the venue and administration. The participants, of course, would have had to cost and/or fund rehearsal space and time and costumes as a minimum input.
APPRECIATION
Mr. Heap would like to see this festival assume a place in the Global Village, enter the CSME, contribute to an appreciation of the region by including Cave Hill, Barbados and St. Augustine, Trinidad. With adequate financial sponsorship Tallawah could very well grow into an international festival that could make a significant contribution to cultural tourism. It represents the challenge we face in shifting to a new paradigm using non traditional means to create employment and wealth. There is enough of the evidence of the earning potential of the arts. If only we could commit to investing more in it like we invest in bananas although every year hurricane come and mash it up and we start again. And that's the point, investment involves some kind of risk taking, people involved in the arts take risks every day to keep it going. The time has long come for a national approach that recognises the implications of the word 'business' in the 'business of the arts'.
Congratulations to Brian Heap, the participants and those who were awarded special prizes this year. May Tallawah grow and prosper.
