Restricted Technical Report PPII 981 -1 9831413.6103 DOMINICA

Development of contacts and exchanges for artistic creation

Guidelines for the Development of Traditional Arts and Crafts

by Sylvia Moore

Serial No. FMR/CLT/CD/85/103

A United Nations Educational, Scientific and Cultural Organization U N t S C O Paris, 1985

GUIDELINES FOR THE DEVELOPMENT OF TRADITIONAL ARTS A N D CRAFTS

D 0 14 I N I C A

by Sylvia Moore

Report prepared for the Government of the Commonwealth of Dominica by the United Nations Educational, Scientific and Cultural Organization (Unes c o )

U N E S C O

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Technical Report PP/1381-1983/4/3.5/03 I M w C LT/CD/8 5/103 (Moore ) 28 February 1985 Q!Unesco 1985 Printed in France

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TABLE OF CONTENTS

INTRODUCTION ..................................................

I . ' I. ARTS AND CRAFTS DEVELOPMENT .............................

11. ARTISTIC AND CULTURAL HORIZONS ......................... Carib Culture ..................................... African and French influence ....................... Village organization ............................... Recent cultural cross-overs ........................

Modern media ....................................... Artistic development and constraints ................

111. TOWARDS A DEVELOPMENT DESIGN ............................ Policy Framework .................................. Artistic and cultural development .................. Design andcraft enterprises development ............ National and international dimensions .............. Policy design implementation ...................... Cultural Division, organization and facilities ..... The Old Mill Centre ................................ Artistic craft and design creativity ............... General assessment ................................. Priority problems .................................

IV. RECOMMENDATIONS ......................................... National co-ordination ............................. Policy definition ................................. Enterprise management ............................. Fiscal criteria .................................... Physical planning .................................. Marketing, promotion .............................. Products and design research ....................... Training ............................................

Appendix : Intersectoral framework ..............................

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ACKNOWLEDGEMENTS

The consultant wishes to express her sincere appreciation and thanks

to all the people who assisted her during the period of consultancy. n

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INTRODUCTION

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1. At the request of the Government of Dominica the Director-General of Unesco arranged for a Unesco consultant, Mrs. Sylvia Moore, to carry out a mission under the Organization's Participation Programme for 1981-1983 from 15 April - 15 May 1983, with the following terms of reference:

(a) evaluate the current situation of the arts and crafts in the Commonwealth of Dominica, regarding creativity, production and training;

(b) advise the national counterparts on the planning policies and strategies for the development of arts and crafts and draft a training programme;

(c) make a status of implementation, and draft a report contain- ing recommendations to the national authorities.

2. The mission, implemented in close co-operation with Dominican Government and other officials, and local people involved in arts and crafts development, comprised;

(a) Inter-sectoral surveys at the national level

Meetings were held with some twenty organizations and goverment departments and with Ministry officials concerned with arts and craft development.

(b) Field location surveys

These included visits to some 15 key field locations, and meet- ings with representative associations, organizations, co- operatives, groups, production centres, small businesses, shops and individuals, involved in various aspects of arts and crafts production and cultural development, in different parts of the island.

(c) Evaluation and planning proposals

Fruitful consultations took place with the Honourable Prime Minister, Miss Eugenia Charles, the Honourable Minister of Educa- tion, Health, Youth Affairs, Sports and Culture, Mr. Charles Maynard, the Permanent Secretary, Mr. Hubert Charles, and other Ministry officials. At these consultations, preliminary evalua- tions were made, and some key issues defined, as essential compo- nents of effective cultural policy formulation, strategic plan- ning and project design for cultural industries ' development.

3. Realistic alternatives for arts and crafts development involve in the first place an analysis of existing resources, interactions and inter-sectoral support

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measures for creation, promotion, distribution, training and citizen involve- ment. Secondly, they have to take into account regional and international constraints, as well as possible channels for co-operation. On this basis, distinctive, imaginative but realistic arrangements can be proposed in response to the differing cultural and ecological. dynamics, as well as to the different economic and trading requirements of the various enterprises concerned. Some options for operational policies, strategic planning and implementation will be studied in the present report.

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1. ARTS AND CRAFTS DEVELOPMENT

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4. The whole ecological and cultural environment of Dominica has shaped and influenced artistic creation in all its aspects. Dominica's unique eco-system provides a wide variety of raw materials used by artists and by artisans. Dominica's ecology is a source of artistic inspiration because of its specta- cular scenery and its natural habitat of mountains, forests, rivers and sea, nurturing and sheltering a wide range of wildlife - animals, birds, fish and vegetation.

5. In Dominica, the unique cultural and social synthesis of Amerindian, African and European cultures which has evolved, interacts with nature's environ- ment. This fusion of nature and culture, incorporating inherited knowledge of natural lore of everything in the Grand Bwa, (the forest) rivers and sea, indi- genous wisdom symbolized by images of the natural world, cultural heritage and traditional techniques and skills, has been transmitted from generation to gener- ation. And this fusion of nature and culture has been widely diffused through oral traditions because of Dominica's particular history and social organiz- ation.

6. On the island, the main natural resources for arts and crafts are flowers, grasses, fibres, lianas, roots, reeds, vines, leaves, coconut shells, timber and some clay deposits. Imported resources include hides for leatherwork, rattan cane for basketry, manufactured products such as paints, cloth and sewing accessories, dyes, oxides for glazes and graphic art supplies. In production, artisans employ inherited skills and some intermediate technology which has been introduced in recent years. Artists are self-taught.

7. The available resources are used for artistic, decorative and utilitarian purposes, or for creations involving all three purposes. Timber is used for household utensils, furniture, houses and other buildings, boats and canoes. Artists make wood carvings, wood sculptures and decorative articles, such as plant holders and lampshades, for which they use wood, or wood in combination with other materials.

8. The woods used are mainly acquired from the rain forest, such as Gonmye, Chatannyg, Balata, Bua dyab (bois diable) and Karapit. Artists also use the trunk of the giant tree fern, Fwij6 (fougsre), for cylindrical-shaped sculptures, lampshade stands, hanging lamps and plant holders.

9. Utilitarian articles made from the vegetation resources include mats, basketry of all shapes and sizes, bags, hats, tablemats, trays, containers, wicker work chairs, fishing nets, ropes and thatching. Decorative items include wall plaques, wall hangings, flower pots and model boats. The Caribs have their own designs and techniques for basketry and in addition to baskets, panniers, tablemats and trays, they make cassava coulevres and sifters, and the popular wife-leader.

10. The main raw materials used are as follows:

Raw material - Use

Veti-ver grass preferred for mats and some- times hats

Screwpine leaves preferred for making the best hats

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Palm leaves

C o c onu t 1 e ave s

Latinier leaves

Zel mouche palmiste leaves

Banana fibre

Roseau reed

Kaklin root

Racine palmiste root

Larouma reed

Balizier leaves

Mibi, corde-caco lianas

Liane-pomme, liane-grise

Bamboo

hats and brooms

hats and brooms

basketry

thatching

ropes *

various containers

various containers

shoulder carry-alls

C ar ib b as ke t r y

lining used by Caribs for lining baskets

basketry

basketry

lampshades, furniture, baskets, and formerly fishnets, fishpots and landing nets

Coconut shells decoration and vessels

11. Clay deposits in the north-east of the island are used for creative and utilitarian pottery work. Centuries ago the Arawaks used local red clay deposits for their vessels. The red clay containing iron oxide (haematite) is found along the cliffs on the Soufriere road. The Arawaks rubbed white clay on their vessels. Pitch from the La Brea Lake in Trinidad, the only pitch in the Caribbean, was applied on the inside of the shards as waterproofing, and on the outside as decoration.

12. Graphic and plastic artists have tended to concentrate on paintings, murals on houses and public buildings, collages using different raw materials and some wood carvings.

13. The range of resources and creativity would be incomplete without the inclu- sion of the performing arts, i.e. traditional music, dance, story-telling and contemporary music, dance, theatre, dub poetry, as well as the art of writing novels, stories, plays, and poetry. These are arts through which Participants can tune into specific cultural realities - arts transmitting cultural values and the perceptions of a community's identity, aspirations and problems.

14. Especially the traditional performing arts furnish a wealth of knowledge regarding Dominica's natural and cultural heritage, while the modern arts mirror the historical as well as the contemporary situation. They draw on cultural knowledge acquired through cultural transmission, and the talent to create in the chosen medium for communication, which involves a fusion of artistry and technical expertise. For traditional presentations, local, traditional costumes

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and musical instruments are used, and for the modern arts, various props, costumes, instrumentaria and the print and mass media are used.

15. It is quite evident that the creative impulse and resources for arts, crafts, the performing arts and literature, are rooted in Dominica's ecological and cultural heritage. If this heritage is to continue as the main source of renewed creative energies, it is imperative that meaningful development policies should in the first place include strategies for maintaining the island's ecolo- gical balance, and for keeping the cultural heritage alive for all Dominicans to share. Otherwise, they may be lost forever.

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11. ARTISTIC AND CULTURAL HORIZONS

16. The main characteristics and directions of cultural life are described here at some length because it is the source watershed for artistic, cultural and craft enterprise developments, and the backcloth with which new creations blend or contrast. Past trends, current trends, and some international cultural dimensions are considered, so that cultural needs and priorities can be defined, and policies and operational strategies proposed.

17. Dominican culture has not only evolved from a particular confluence of histories and cultures, but a unique cultural tapestry has been woven from Amerindian, African and French sources to become what is commonly called Creole culture. It is a confluence which reaches back to, and criss-crosses over with, the pre-Hispanic American continent, Africa and Europe, and at the same time, reaches forward to the contemporary world. For today as yesterday Dominican culture is characterized by a dynamic fusion of various forms of artistic creati- vity, with nature and with community life. (For literature on the history, ethno- graphy and culture of Dominica, see bibliography).

Carib culture

18, Some 2,000 Caribs of Amerindian descent live in the north-east of Dominica. This is Carib territory for which a unique legal arrangement was made by the Carib Reserve Act of 1978, providing for self-government by a body corporate, i.e. a local government body consisting of an elected Chief and 5 Council Members. In addition to the powers given in the Act,which relate to Carib custom, the Carib Council has the powers of a Council under the Village Councils Ordinance.

19. Carib settlements were formerly located at Souffriere, Scotts Head, Pte Mitchel, Canefield, Macoucheri, Salisbury, Coulibistri, Colihaut, Dublanc, Indian Rivers Bank, Toucari, Vieille Case, Calibishie, Melville Hall, Good Hope, Saint Sauveur, Rosalie and La Plaine. Each extended family cultivated the land which they owned co-operatively.

20. The most outstanding features of Carib culture today are the relation to the land - for the land is common domain in custody of the Council and allotted free tu Carib households - and the relation to nature, manifested by the knowledge of how to survive both in the forest and at sea. Attitudes to the land are encapsu- la.ted in legends which provide memories of Carib history, aspirations and a know- ledge of a whole way of life in harmony with the tropical environment.

21. For instance, the rocky islets near Kashibona can turn into great canoes at night and bear the spirits of the dead back to South America. Carib lore was carried across the sea, by the water snake Tete Chien who came ashore at Sineku to teach the Caribs. As he returned to sea, Tete Chien left a serpentine rocky trail behind, descending steeply down the cliff to the shore as a natural stair- way. There lie the sacred pools where Caribs may ritually bathe. The chief's house used to be located where the steps end. The stairway is actually a series of gritty irregular shaped volcanic rocks, spattering down to the shore and continuing under the sea for some distance.

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22. For basketry work their preferred coloursfor working the larouma reed, i.e. the itirite of the Guiana Indians, are russet, obtained by bleaching, and black obtained by dyeing the reeds in mud-holes near the rivers. These coloured reeds are woven into patterns and are very similar to the colours and patterns used by the Indian groups of the Amazon and Choco in West Colombia.

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African and French influences

23. Especially in music, dance, storytelling, language, and local festivals, African impulses re-sound throughout Creole life, interlaced with French and mulatto influences introduced from the seventeenth century onwards. Then peasants and small farmers with a French rural tradition began to settle in Dominica on small scattered estates throughout the island, and engaged in lumbering and farmwork. They still practised their own village customs, played accordion music, and danced lancers, quadrilles and mazurkas.

24. Although the British had claimed the island, they were largely absentee owners, because the difficult terrain, hurricanes and threats from the Carib and Maroon communities discouraged them from settling. French farmers and merchants were therefore virtually free to go their own way and there was much exchange with the neighbouring French islands, Martinique and Guadaloupe. The freed slaves and mulattoes from these islands bought land in Dominica from the British and they introduced a life style that combined both European and African culture especially in their dress, music, dances, festivals, architecture and language. This life style was beautifully illustrated in the paintings of Agostino Brunias (1730-1796). Only copies of his paintings are found in Dominica today, for the originals are in Jamaica and other parts of the world.

25. Brunias’ paintings illustrate the freed slaves’ and mulattoes’ love of adornment and lavish fashionable clothes, which were eventually modified to become the famous jupe and wob douillette, the Dominican national dress. He also also illustrated the music and dances of slaves still retained by their new masters.

26. The slaves played the drums - Tambou Bele, Tambou lay-lay and Tambou lwavai, vertical bamboo trumpets, transverse bamboo flutes, and rattles. Just as the North Colombian guacharaca, in Dominica, the gwage is scraped by a bundle of tied wires. These instruments of African origin were played to accompany dances for different occasions and festivities. The most well-known, the b616, is thought to be a fertility dance in origin.

27. The accordion became a popular instrument for accompanying dances of French origin such as Quadrille, Lancers, Mazook, Contredanse and Polka. Music and dances were mixed and new styles developed, to become the Dominican Creole interpretation and transformation of African and European cultural legacies.

28. As a Roman Catholic country, most villages have a feast for their patron saint, and along with festivals such as Christmas and Masquerade (Carnival) they were, and are still celebrated throughout the island. Carnival especially was the opportunity for organizing masked parades, celebrations, and for public exposure of grievances and social commentary in the chantemas songs. Nowadays the steel band and calypso born in Trinidad are popular features at Carnival.

29. French Creole became the main language of Dominicans, a Creole enriched by the use of quite a number of Carib names and African-influenced conceptual constructions in phrasing and grammar. Though Dominican Creole is similar to the Creole languages of other islands, as well as to Quebequois and Madagascan Creole, it has evolved spontaneously as a living language, studded with proverbs, patois sayings, riddles, puzzles, traditional tales and non-traditional narra- tives, and transmitting a whole vernacular way of life.

30. One of the most dramatic manifestations of the vernacular life is of course the conte, a traditional folk tale genre recounted in Creole by raconteurs- narrators - who actively pass on the tradition. stories on the basis of traditional themes, plots and characters. They tell

Conte narrators create their

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their tales with verve and style, singing where necessary and playing the parts of the different characters as the scenes change.

31. They tell ListwG stories for everyday narration, and kot at wakes. Both forms evoke the world of make believe, but kot have more references to actual events. In conte stories, monsters, devils, animals, insects, spirits, humans, happenings and institutions form one world. Animals and birds are anthro- pomorphic in character, or their characters may be associated with their real qualities.

32. People meet monsters and kings in the forest, humans sing to monsters, birds to people, and devils to brides. The setting is timeless, the charac- ters move around in cosmic space, their whereabouts occasionally identified by descriptions of familiar places, trees, flora, fauna or rivers.

33. The conte is a timeless synthesis of artistic vision, nature, the super- natural and human life in which make believe and reality become one. There is no beginning and no end, because 'the end is the beginning and the beginning is the end. '

34. The conte, which can be traced back to Africa and to Europe, and on to Mexico, Venezuela, Colombia and the Southern United States, is part of that Caribbean reality which has influenced the whole aesthetic experience and creativity of the area.

Village organization

35. Especially in Dominica, one can say that the Caribbean cultural synthesis is rooted at home where it acquired its own Dominican flavour and became part of every Dominican's experience because of the island's particular history and social organization. As Lennox Honychurch points out, Dominica was the last Caribbean island to be colonized, and it therefore became the last refuge of the Carib Indians (1982:3). The land could not be divided into large planta- tions, and slaves could escape and hide in the mountains. Even though the island ostensibly changed hands as the British and French won and lost battles, this only meant that Roseau and Portsmouth, the two main towns, were taken.

36. Village communities could therefore develop almost autonomously and without central control. Characteristic of village life was a high degree of self- reliance as well as a communal spirit which sustained the communities in their isolated locations.

37. Fishermen still announce their catch by blowing the conch shell when they arrive on the shore. The catch is divided between the owner of the boat and the fishermen, fish are sold and villagers have the-chance to exchange news. As for village organization, the natural leaders became members of the village councils, and ad hoc committees took charge of organizing festivals, communal activities and cultural groups, as they still do today.

38. Dominican culture was frowned on, and patois was thought of as bad English, representing the African base which was supposedly hampering the attainment of superior European standards. Yet patois remained the main language, and cultural and social life evolved at their own pace because of the firm rural economic base and autonomous geographic position of the villa- ges.

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39. Nevertheless, the system of government established by the British for the public sector still continued to function as the administrative frame- work for the judiciary, the executive, the legislature, the civil service and for education. Especially in formal education this has meant that instruction was designed for an alien way of life both in terms of content and aspirations.

40. In Dominica and in the Caribbean today, there is a cultural revival, for artists are exploring everything emanating from the exposure to 'cultural cross- overs in the region. At the same time, there is cultural liberation and trans- formation because artists are looking inward to perceive nature and culture as what they themselves become by being there. Artists have turned to Dominican subjects, most of them painting intuitively, Gilda Nassief, a Haitian resident in Dominica started to paint murals on houses and to design interiors. This has led to a revival of interest in traditional architecture - houses with decorative wooden balconies outside, and inside decorative wooden screens divi- ding rooms.

41. The Dominica Broadcasting Corporation produces news and cultural program- mes in Creole. Cultural performing groups have been formed, such as Tradibelle of Grand Bay for traditional Creole dances, led by Adriana Henderson, the creative dance theatre company, Waitukubuli, founded in 1971 by Raymond Lawrence, who is dancer, choreagrapher, artist , broadcaster and cultural officer.

Hecent cultural cross-overs

42. Dance music and drama coming originally from Africa has had an enormous impact, and since the end of the nineteenth century, Black music has been pro- minent internationally from rag-time to rumba and jazz, right up to today's Black and White fusions. After the Second World War, some of these New World forms, such as calypso, bolero, cha cha cha, pachanga and rumba, crossed back to Africa. The samba was introduced to Nigeria by Brazilians, and affected juju music with its samba drums, while meringues became the national music of Sierra Leone. Reggae has had an immense impact on the modern African music scene leading to the emergence of African Reggae. In Britain, two tone punk music moved back to rock and roll, itself a copy of Black rhythm and blues, thereby copying a copy.

43. These are multiple transformations which draw together the popular cultures of the New World, Africa and Europe creating a rainbow coalition of people rooted in the same cause and inspired by common roots.

Artistic development and constraints

44. Manley points to the power of art 'to pry loose from traditional class atti- tudes those extraordinary individuals who became part of the processes of poli- tical change.' But at the same time, artists have often to break through formi- dable barriers to pry loose from systems prescribing their position and role in society, prescribing norms concerning the acceptability of their works, or from economic circumstances limiting their opportunities for artistic creation.

45. In Dominica, constraints are in the last category. Artists seem to be frus- trated because there is no way for publicizing their works. A few works are exhibited at Government House and there is the display of Gilda Nassief's gra- phic art at Barclay's Bank, However, as yet, there is no permanent exhibition gallery for the public, and no channels for exposure abroad.

46. There is no support for artists to explore new materials, techniques and form, so necessary for original creative work, with the exception of support

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for two Dominican students who follow courses in fine and applied art at the Jamaican Cultural Training Centre. This Centre was founded on the belief that, vital to the advancement of Third World countries, is the need to apply their rich resources in the creative arts for the development of young people as a normal part of their education.

47. Otherwise, Dominican artists learn by experimenting in their own homes, or by forming an artists’ co-operative, such as the Artists Design Group at Wesley founded by a school-teacher, Chad Prince. They have a tiny room, some 2 by 3 meters, where the group practises the art of painting, using hardboard as a canvas substitute, and at night they work by candlelight. They raise money for materials by making popular art productions, for example, printing T-shirts for sale.

48. Other barriers which may arise include the constraints of artistic and political conventions. On the one hand the artist may develop new forms from old forms already accepted by society. On the other hand, using old forms as a base, the artist may develop new techniques provoked by the inspiration to create forms which do not yet exist, and which society finds shocking or un- acceptable. In 1913, the first performance of Stravinsky’s Rite of Spring at the Th62tre des Champs Elysees in Paris led to uproar and fighting in the audi- ence.

49. The artists’ creation expresses individual consciousness of being. It is a statement about his/her concept of life and society and therefore of values. As expressions of consciousness, theatre, films, music, literature, poetry, plastic and graphic arts are powerful weapons for change which may conflict with established artistic and political values, in which case, they receive no support or acceptance at all.

Modern media

50. For small island states like Dominica, the media open up tremendous possi- bilities for development because they are channels for exposure and exchange of cultural activities and artists’ works, for promotion and dissemination of information about the islands, for training by distance learning, for education because they are means of documenting cultural resource information and of storing data bases. They have a multiplier effect because they can be prod- uced in quantity, stored and used repeatedly when needed.

51. They are multi-purpose tools because they can serve cultural development as well as related support sectors such as enterprise development, education, tourism, trade and industry, and environmental management. By placing images of the islands on the world’s map as it were, this exposure opens up new areas and locations as potential trading partners and for co-operation in other areas, thus contributing to understanding, appreciation and the diversification so necessary as a base for cultural, social and economic development.

52. Access to cultural heritage, participation in cultural processes of regen- eration, transformation and culture sharing, can be maximized by harnessing appropriate media channels as transmitters of heritage and catalysts for parti-, cipation, exchange and cultural action.

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53. A major constraint for developing countries is the fact that they do not yet have sufficient technology of their own to counterbalance the information industry of the mechanized world. This industry tends to transfer the culture of modernized, industrial, and post industrial life through dominant mass media

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messages. On the whole this is a unilateral, mono-cultural flow, in which those of the underprivileged communities are merely spectators, and ulti- mately consumers of the industrial world's ideological, cultural and con- sumer products.

54. Pluralist cultural images and identities are disconnected; viable life styles are eroded and replaced by homogeneity. Nevertheless, as access to knowledge about modern life-styles increases because of the media's global reach, actual access to modernity seems to diminish proportionately.

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111. TOWARDS A DEVELOPMENT DESIGN

Policy framework

55. It is quite evident that in the formulation of policies, a complex situation involving national, regional and international dimensions has to be considered. This is further compounded because there are two independent objectives:

- Artistic and cultural development; - Craft enterprises and design development.

56. Operational policies for these aims are overlapping and divergent where the economic base is concerned. However, there is fusion and convergence of policies regarding creativity for the following reasons.

57. Crafts and design development do not fit into established economic enter- prise frameworks, because for designers to create, there has to be a liaison between designer, manufacturer and financial backing. Italian and French fabric companies subsidize designers and their governments provide support, be- cause it is realized that designers cannot subsist by designing on credit. If the financial side is sorted out, creativity is augmented, designers can estab- lish themselves, and they have a better chance of borrowing money to set up self-employed enterprises. More often than not they have to whittle it away by living from hand to mouth in order to design, then stagger from collection to collection to try and sell designs and wait for the shops to pay up. The for- ward linkages for efficient sales management are lacking, so that income is not commensurate with the effort and energy put into selling one item or design, a situation not far removed from the creative artist who cannot findcommissions, patronage and sponsorship because of hostility to innovation.

Artistic and cultural development

58. In Dominica the rural community has provided and still provides the base for culture sharing. Therefore in the first place, policies need to be direc- ted to strengthening channels for keeping the community alive, since change and innovation come from within. There is a process going on of 'wearing down the traditional customs in terms of lifestyle.'

59. There is a consciousness of and concern about 'the bombardment from out- side' which 'threatens the continuity of the cultural heritage of Dominica.' At the same time old customs and traditional knowledge are dying because they are not always passed on by oral tradition as before and neither are they recorded.

60. Information on Dominica's heritage is also required by departments and aid agencies for feasibility studies carried out as bases for development planning. Thus, the provisions of a reliable data base and channels for cul- ture diffusion are not seen as tools for highlighting culture at annual re- vivalist events for the display of mummified museum pieces long ago buried and forgotten, but as part of everyday life and its development.

61. Clearly, the unique community, naturalist and creative currents, as well as the particular economic and social circumstances of Dominica, indicate the

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appropriateness of a decentralized approach, so that human ecology, physical planning and environmental designs are planned to stimulate community life in different parts of the island: thus, an approach based on arts development and crafts enterprise development in the widest sense, i.e., diversified pro- fessionalism and artistic creation, integrated and linked through an active national centre, to provide maximum benefit to all sectors of the Community, contributing to the quality of life and to economic improvement. This would mitigate the tendency to centralize everything in Roseau because of the lack of infra-structure and facilities in the villages.

62. The development of artistic and cultural activities and craft enterprises are for the benefit of communities and therefore need to be planned in rela- tion to their social situation, and with regard for the Carib and Creole cul- tures. Therefore through the mediation of creative individuals and partici- pants, dialogue and exchange between cultures is encouraged, and not just trade between producers and consumers.

Design and craft enterprises development

63. Craft enterprises and activities developed on an ad hoc basis, and now consist of a wide range of scattered and disparate activities. Initiatives started largely because of individual endeavours, some of which were church- based or planned by government and community committees. Occasionally, enter- prises received government backing and assistance from non-governmental organ- izations and international agencies.

64. Typical of a smaLl, mixed economy, the enterprise units range from wel- fare, cottage industries and small production co-operatives with a w,eak fiscal base unless subsidized, and/or supported by dedicated volunteer workers, to small marketing co-operatives, self-employed holistic enterprises, and medium- sized business enterprises. The latter have a relatively stable base because there is constant monitoring of supply and demand. In the case of holistic enterprises, synthesis is achieved by balancing community response and promo- tion.

65. More than 60% of the units are family-based, whether they are cottage industries or small-scale producers and shop owners, or holistic enterprises.

66. Women are almost exclusively engaged in basketry, straw work, and agro- processing, and men work in the leather industry, carpentry, pottery and agri- culture.

67. Units for leather-work, carpentry, and the Tropicrafts Company, tend to be run along established business lines. Apart from Tropicrafts, women’s work tends to be an extension of family household and community organization which is difficult to combine with established business practice. Therefore, women’s craft and agro-production, although very largely the backbone of craft industry, is a synthesis of voluntary work, household work and a secondary income source. This makes it difficult to estimate the real value of women’s contribution to production.

68. Carib children learn Carib craft at an early age at home, and subsequently receive craft training at school, but they do not work until they leave school.

69. Traditionally, men made the panniers, manioc sifters and coulevres, while women made baskets.

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70. Taylor observed that labour was divided according to physical abilities, so men were occupied with canoe and house building, fishing, sawing and land clearing. Women prepared vegetable oil (carapat) cassava bread, and were involved in other activities in the home environment. (Taylor, 1938:119).

71. All enterprises are rural based, because even Roseau and Portsmouth still have the characteristics o,f rural community life with links to the rest of the island through family and work connections, and social activities.

National and international dimensions

72. Local manufacturing of raw materials is crucial to economic development in Dominica because the potential market for manufactured goods is greater than for primary resources. This involves large-scale economic and social transforma- tions for insertion into the mainstream of international economic affairs as a member of a regional equal partner alliance.

73. It also involves adjustment policies in industrialized countries, and the elimination of protectionism as one of the more serious threats to the struc- tural changes necessary-for local as well as for global improvement. Thus policies for a sound national economic base are bound up with regional and international policies and with external constraints.

74. The economy in Dominica is highly dependent on the export of a few primary crops, in particular bananas, grapefruit, essential oils, coconuts, limes, overshadowing the use of the land and labour force for domestic agricultural purposes, for local food consumption and for agro-production. According to John Cropper, Head of planning for CARDI, (Caribbean Agricultural Research and Development Institute) in the Caribbean as a whole, plantation-based exports are on the decline and opportunities for major advances are limited, while obstacles to the food crop sector include widely distributed ownership, en- vironmental problems and small acreages.

75. Consumer and capital goods are largely imported: manufactured food, ma- chinery, petroleum, consumer goods, vehicles, chemicals are imported from the United Kingdom, the United States of America, St. Lucia, Trinidad and Tobago, and Canada. The development of agro-based craft manufacturing industries is dependent on the long-term planning of environmental resources and their con- tinuous supply, training schemes, investment, infra-structure, and trade arrangements. Internal constraints on local processing of raw materials in- clude the lack of technological and capital infra-structure, training schemes and public information directed to the skills and motivation needed.

76. As the chief area for employment, the export sector attracts wage labour and casual labour. Those who find no work usually migrate. Consequently, local agriculture is further neglected in favour of the export market which leads to further dependence on food imports, on international trade and there- fore on fluctuations in selling prices of raw materials.

77. Problems caused by economic misfortunes, poor prospects and lack ofemploy- ment opportunities were exacerbated by the aftermath of natural disasters. Dominica suffered the effects of five hurricanes in this century - 1928, 1932, 1955, 1979, 1980. This led to several waves of post-hurricane migrations whereby Dominica lost a substantial number of middle management people capable of starting manufacturing business enterprises.

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4

78. From 1955-1960, many shoe repairers, leatherworkers, masons and carpenters left the country. From 1962-1964, peasant proprietors with two-acre holdings

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sold up and ].eft for Britain along with landless agricultural labourers, who had formed the backbone of the small amount of local production for home con- sumption. Ninety per cent of the emigrants were semi-skilled and had not com- pleted 5th form school. The other ten per cent were skilled workers.

79. Between 1973 and 1975, some 5,000 Dominicans emigrated to Canada. They had benefited from expansions in secondary education at home and sought employ- ment abroad. Since 1975, professional people, doctors and trained scientists have left Dominica, often because there are no jobs at home. Consequently, there is both capital and human resources flight.

80. Foreign ownership of resources, especially in export, agriculture and banking, leads to the disarticulation of key sectors of the economy from local judicial and political supervision. However, external deficits are financed by attracting new investment from abroad through tax incentives, or by an in- creasing reliance on official aids.

Policy design implementation

81. Support infra-structures, their facilities and some priorities and options for strategic action plans and support sources are now discussed. This is followed by proposals for a follow-up stage.

82. The strategic planning of operational policies involves:

- Centralized national action - Strengthening local activities through the development of

self-supporting enterprises and co-ordinated community action

- Regional and international co-operation 83. Therefore policy design implementation can only be realized through inter- sectoral co-operation.

84. National co-ordination sectors are directly responsible for elaborating and implementing action plans on the basis of the general directions of opera- tional policy proposals finally approved. Inter-related support measures are implemented in co-operation with the departments concerned. A proposal for inter-sectoral co-operation is shown in the following skeleton framework, to be modified according to the current situation. Action plans are then con- sidered in the following order:

a) Cultural Division, organization and facilities

b) The Old Mill Centre

c) Artistic, craft and design creativity

Cultural Division, organization and facilities

85. The Cultural Division executes the policies of the National Cultural Council. The Culture Officer of that Division is always a member of the Coun- cil which has eight other members appointed by the Minister who are representa- tive of the cultural life of the community. The Council manages its ownaffairs and it is the major umbrella body for cultural development.

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86. The Council's work is assisted by cultural associations of voluntary members encharged with various aspects of arts and culture. The Council also establishes national cultural groups which as far as possible are self- supporting.

87. The Cultural Division has a one-room office with a large storage annex, near Government Headquarters.' This main office will eventually be moved to the Old Mill Centre and a subsidiary office set up in Roseau. The Division has the minimum facilities needed. The office has three desks and chairs and a small library. Otherwise equipment and heritage resource data is minimal.

88. The Cultural Division has a staff of three cultural officers and one secretary, all of whom are talented in art, music, dance and theatre. The cultural officers have multi-purpose roles, and in the circumstances officers get tied down with the responsibilities of organizing cultural events, and hardly have time for work outside Roseau, in Portsmouth, and in Dominica's seventy villages. Nor is there much time for implementing cultural. develop- ment plans.

The Old Mill Centre

89. Some of these problems will be eased by the further development of the Old Mill Creative Arts Centre for which an ambitious programme has already been inaugurated, largely thanks to the voluntary work of the Creative Arts Society (CASOD) members in renovating, painting, landscaping, and through the activities of its working committees.

90. The Old Mill Site, located at Canefield, some 4 kilometres from the capi- tal, was acquired by the Government of Dominica and allocated for cultural development. The objective is to establish a self-supporting creative arts centre, integrating all aspects of Dominican cultural life as fundamental to economic and cultural development. The Centre is designed to help create employment for artists and artisans, and to serve the real needs of the people by providing a base for the future. The objective is to become self-financing as soon as possible.

91. This design was born of a unique vision of creative imagination ahd social dedication of several individual artists in Dominica who set up CASOD, and whose endeavours were frustrated by the lack of a co-ordinated policy and supportive outlets.

92. The plans for the physical design and the activities programme at the Old Mill, are devised to create a realistic location at the heart of society in development, as a centre for the whole community.

93. The main building is a solid attractive edifice reasonably hurricane- resistant. The Long Barn, in the main building, will be used as an art gallery for the display of crafts, and for performances, workshops, exhibitions, and so on. Indeed, the Long Barn has already been used by the National Development Foundation for a display of products made by artisans who received funding from the Foundation.

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94. It is hoped that the Old Mill venture will become self-supporting through the sale of art works and craft products, for which service the Gallery will retain a percentage of sales. Entrance fees will also be charged for other activities - film show, music, dance, drama, art and craft workshops.

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95. It is hoped to incorporate instruction in wood sculpture, pan making for steel bands, and pottery (for which three phase electricity is available) in the workshops' programme. These workshops will provide a work-place for artists and artisans, art supplies will be ordered in bulk, commercial art jobs can be carried out, training workshops and seminars sponsored.

96. Other projects include the development of a folk museum and-folk research centre where mobile exhibitions will be held'; a Caribbean book library, and an outdoor theatre with tiered seating arrangements built into the hillside. There is an area for basketball which can double up as an amphitheatre. A play area for children is set aside, and in the original plan, it was also hoped to start a zoo. In the main building, space has been allotted for offices and darkroom facilities.

97. The Old Mill Centre and grounds is an area of tremendous cultural poten- tial with a multi-purpose role, and a focal point where cultural life inter- acts with other activities organized on a national scale. For instance, in areas of trade, agriculture and industry, the Centre can be used for displays of culture-related manufactured industrial and agricultural goods, as well as cultural industries' products. In this respect, a priority action plan is the completion of the Mill's infra-structure and facilities, so that the Centre can operate efficiently .

98. In addition, the Centre needs adequate equipment and materials for all the activities proposed, including playback equipment, 16 mm. film for general public use, video playback for instruction purposes.; multi-media cultural resource and promotion materials, storage and retrieval facilities. Additional staff to run the Centre would be required. At present, USAID is assisting financially in the reconstruction of the Long Barn, for which $100,000 has been donated. However, it is evident, that funding is required for establish- ing the Centre's infra-structure as a whole, and that funding proposals to this end should be strongly endorsed.

Artistic craft and design creativity

99. Some action plans concerning art, craft and design creation, and provi- sions for a resource data base which could be taken up in action plans, are now explored.

100. Action plans for artistic innovation in arts and crafts development have first to take into account the interdependence of arts, science, technology and economics, applied in a radically new way to meet current needs. Secondly, a fundamental. decision is the selection and adaptation of appropriate techno- logies in relation to development goals.

101. Action plans for innovations in artistic creation can be encouraged in the first place, by exposure to the potential of Dominica's unique environ- mental, cultural and historical heritage and indigenous technologies. New techniques can be explored, but without simply copying art forms developed elsewhere. For example, the desire to diffuse Carib culture beyond theReserve as a source of creative inspiration, is not just a matter of replicating and upgrading existing craft products, which is the concern of craft enterprise development, but it is a matter of exploring the whole Amerindian past. Sec- ondly, innovation in crafts and design work can be encouraged by providing resource data, and the creative space.

'102. Freedom to experiment with forms and materials is absolutely necessary. In this respect, art and design creativity merge because the artist does not

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know the end in the beginning of creating, and because applied and fine arts are 3ften synthesized. They differ once the works created become blueprints copied by highly skilled artisans or mass-produced by machines.

103. An action plan for research and tralning programmes in design cre- ativity should be devised, based on a selection of desired craft and design industries. Some recommendations for this selection have already been made, based on market research to date and expressed national development goals, from which a possible range of desired craft and design industries emerges.

General assessment

104. For a nationally co-ordinated policy framework, an overall assessment of obstacles and potential contributions is needed:

i) Obstacles

105. Some enterprises are organized along business lines and well managed. In the case of most enterprises, however, there is an absence of business lines organization, and a low level of entrepreneurship. This is largely due to the lack of: exposure to esta,blished business practices, training in busi- ness management and administration and motivation and opportunities.

106. All enterprises are affected adversely by fluctuating markets, decline in tourism, inflation and economic problems.

107. All enterprises are affected adversely by the two recent hurricanes. I

108. Expansion is hindered by the lack of a national co-ordinating body to implement an overall plan. lation; their fiscal base is precarious; marketing outlets and promotion are scant; resources are under-utilized; enterprise potential is untapped, as is efficient production management, to ensure steady production-sales flow.

Consequently, enterprises are operating in iso-

ii) Potential

109. All enterprises illustrate the potential of indigenous knowledge, de- signs and techniques. Some synthesize that knowledge with intermediatetech- nology .

110. Some unique lines are produced and there is potential for upgrading designs and finish.

111. Some community-based units are already providing nuclei for training and design research of a holistic character, involving agro-processing and environ- ment a1 tourism.

112. All enterprises are making a contribution to community development, and some 50% have a reasonably stable base for generating employment and income in the future.

Priority problems

113. The following main problem areas are of significance to policy formula- tion and operational planning:

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a. National policy definition b. Enterprise management

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c. Fiscal criteria d. Physical planning e. Marketing, promotion f. Products and design research g. Environmental management h. Training i. Centralized co-ordination

a. , National policy definition

.

114. Up to now there has been very little definition at a national level of the kinds of craft and design industries desired. A selection of these indus- tries desired. A selection of these industries suggest growth possibilities for rural industries, based on the transmission of environmental and agri- cultural resources via rural industrialization to the rest of the economy, for which a data base is required in the planning stage, regarding available resources, technology and finances.

115. It also pre-supposes that rural industrialization is linked to agri- cultural development as a whole, with the necessary inter-sectoral links for national and regional co-operation.

b. Enterprise management

116. The majority of artisans have little or no experience in assessing social and economic realities regarding their work, especially in financial manage- ment - purchasing, procuring, obtaining finance and credit, production costs analysis, and in efficient production and marketing management in relation to quantity and quality required. They often lack adequate structural facilities and tools and equipment.

117. Managerial skills for setting up small self-employed businesses hardly exist. Other than the Leathercraft Association, artisans have not explored the potential of craft associations to mobilize members, for presenting a com- mon platform for improvements, and for pooling efforts towards minimizing high costs of finished products, e.g. by bulk purchasing of raw materials and co-ordinated marketing.

c. Fiscal criteria

118. There is no organized institutional framework for implementing viable investment criteria to stimulate rural industries, ensuring a reliable finan- cial base. Loan schemes are organized on an ad hoc basis. However the loans were meant to be revolving funds and aimed at a higher risk clientele not quali- fied for ordinary credit facilities. It was therefore decided to establish fiscal criteria. They include:

- Landing: in Dominica, the fund limit is EC 2,500, repayment period one year, and a small interest rate is charged;

- Appraisal: of borrower's community standing. Alternatives to ease cash flow and transactions;

- Monitoring;

- Management training for self-employed business people is provided.

- 20 - 119. In addition, loan schemes must be co-ordinated to avoid duplication and haphazard implementation, especially when funds are scarce.

120. In a mixed economy, the continued presence of private production and trade is desirable, with incentives and assistance, along with foreigninvest- ment incentives, compatible with the Government's goals. This is especially necessary to establish self-employed businesses. Government planning and interventions regarding interfiattonal negotiations are necessary so that fiscal planning is complemented by private sector industries' initiatives for develop- ment and by industrial development as a whole.

d. Physical planning

121. Most structural facilities have inadequate layout and equipment. Well- planned community centres with a multi-purpose lay-out are needed. Such centres could serve as communal workshops, for training, for exhibitions, for meetings, and to provide satisfactory co-ordination with the national activi- ties.

122. The Old Mill Centre could accommodate a permanent display room for show- ing changing exhibitions of manufactured products. Careful landscaping plan- ning is needed for the Centre as a whole.

123. Efficient production, marketing and co-ordination within the island also depend on modernization of electricity and water supplies, repairs to main roads damaged by the hurricanes, and the construction of feeder roads.

e. Marketing, promotion, trade

124. This area needs urgent attention especially regarding centralized facili- ties and co-ordination. Critical areas are: matching products to market out- lets, quality control, catalogues and promotional aids; market research for new products to serve the Caribbean and other external markets, promotionexer- cises, negotiations for joint marketing agreements and collective arrangements. Regular producing sources are needed to guarantee supplies. A central collect- ing depot and display centre is also needed.

f. Products and design research

125. There is need for

- upgrading existing designs, - the exploration of new techniques and materials for the development

- the exploration of marketable designs in relation to the modern of Dominican design on the basis of Dominican heritage,

sector.

g . Environmental management

126. Policies need to be closely co-ordinated with environmental research and planning regarding agriculture and environmental development to ensure a con- tinuous supply of raw materials, to meet the needs of agro-production and the development of rural industries.

h. Training

127. Training as part of formal, informal and adult education is a fundamental foundation for the preparation of professionals in the fields of craft and

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design development, and has a threefold purpose - training in creative design, enterprise management, and education for the changing role of the artisan and designer in society.

i. Centralized co-ordination

128. The previous policy issues call for the organization of a national body to provide extension services, to manage a central show-room depot, and to promote Dominican design on a commercially sound footing.

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IV. RECOMMENDATIONS

National co-ordination

129. The spearhead for managing design and craft enterprise development would be a newly created Dominican Design Board. It would collaborate with the Cultural Division, especially regarding design creativity and education. For craft enterprises development, there would be close co-operation with the Industrial Development Corporation, the Trade and Industry Division, and the National Development Foundation.

130. At present. a steering committee is setting up a National Crafts’ Associ- ation which could work towards the establishment of a Dominican Design Board. The various national craft associations set up by the National Crafts’ Associ- ation would provide a forum for exposing problems and taking initiatives; it would be affiliated to the Design Board.

131. The Design Board should be an independent representative body, with the expertise necessary for exploring, taking and implementing bold and dynamic initiatives.

132. There is already an informal collaborating group on the island, which if strengthened, could become the official Dominican Design Board. As a central- ized body, the Board would collaborate with local crafts, agricultural and industrial associations, as well as with inter-related government and private sectors in Dominica, and in the wider Caribbean region. It would arrange capital generating activities for the Dominican community as a whole. Because of its action-oriented base, the Board would need to operate independently without being hampered by bureaucracy, and at an efficient pace which takes into account the different paces of creativity, the community and business. As such, the Board would have the following functions:

- price and quality control, display, promotion - management of a central depot for display , exhibitions, storage - channelling of loans, credit and fiscal matters - monitoring industrial activities - marketing and trade relations - extension services:

design and market research training to improve design, fiscal and managerial skills advice on advice on advice on advice on provision

enterprise operation marketing purchase, import and suitability of equipment mechanization and appropriate technology of catalogues and promotion publications.

Policy definition

133. Operational policies include:

- Identification of sources of material wealth, such as forest resources and indigenous knowledge, and identification of production opportuni- ties, such as the different kinds of craft, tourism industries, as bases for production development.

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- Selection of desired activities which maximise use of locally available raw material and its conversion for supplying local export markets, with a view to insertion in the international economy.

and

- Optimal use of local labour force by the provision of appropriatz skills training, transfer of appropriate technology, correct tools and equipment, and by creating employment opportunities.'

- Substitution of imports by locally manufactured products.

- Integration of design and craft enterprises into the whole economy. - Expansion of production and income growth through:

quality improvement better organization efficient labour productivity imaginative marketing and promotion co-operation with other areas of manufacturing, commerce, tourism and agro-production a central production and training centre.

Enterprise management

134. Policies for:

- Improving self-employed businesses and the organization of secondary employment .

- Creating opportunities for craftworkers in the modern industrial sector, e.g., car seat upholstery, construction of body parts for lorries and wood frames for houses, and other linkages, for the mutual benefit of the various sectors concerned.

- Creating opportunities for professional employment for artists and artisans within culture, environmental and health related enterprises, and support measures for their expansion.

Fiscal criteria

135. Policies for:

- State supervision of foreign commerce and the national financial sys- tem, with leeway for incentives and assistance to the private manage- ment sector.

- Code for foreign investment compatible with national economic, cul- tural and social goals.

- Co-ordination of incentives in relation to national policy definition and with special attention for marginalized activities.

- Financial arrangements for sponsoring design research and design cre- ation, by grants, built-in profit margins, provision for re-training schemes, and design research facilities.

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Physic a1 planning

136. Policies for:

- Provisions for multi-purpose community centres linking schools, village, community, environment, and for cultural exchange, with facilities for pre-school care, village meetings, library and cul- tural resources.

- Planning for infra-structural facilities for the Carib community. - Completion of design for the national cultural centre - the Old Mill,

and planning for a display centre at the Old Market.

Marketing, promotion

137. Policies include:

- Mass production of quality products at competitive prices. Market research for professional designs which match market requirements in the modern sector.

- Provis ion of promotional materials.

- Promotion campaigns. - Efficient arrangements for following-up promotion exercises, including

arrangement with local producers to guarantee supplies; shipping arrangements for export of goods and import of equipment and materials needed for design development.

- Assistance to producers in organizing professional associations of craftworkers for furthering common objectives and facilitating bulk buying; provision of storage facilities, and using the experiences of existing craft and trade associations as a guide to organization.

- Regional co-operation and joint marketing arrangements. - Market penetration by establishing reliable alternative outlets, and

favourable trading agreements, especially regarding non-tariff barriers, and by using Dominica's geo-political position to advantage.

For instance,

Linking to new market areas for south-south and south-north connections, through the Lom6 Convention and other alliances, such as the Commonwealth.

Using its key position as a broker for co-operation between the United States of America and the European Common Market.

Exploring outlets through the Organization of American States and Latin- American Caribbean Alliances.

0

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Penetrating the Asian market through. links with the United States of America and Caribbean-Asian links.

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Penetrating French markets and countries allied to France, in Africa and elsewhere, through regional agreements with Martinique and Guadaloupe.

Penetration of Dutch and allied markets through regional co-operation with the Dutch Antilles.

Co-operation in regional development, bearing in mind that developments in one island have a beneficiary feedback in the region as a whole.

Products and design research

138. Policies concern:

- Diversification of products in relation to local economy, to market outlets and links to the modern sector.

- Upgrading existing products. - Access to resources to sustain creative, cultural and ecological resources base.

Training

139. Policies concern:

- A balanced training in creative arts and handicraft related to environmental, industrial and post-industrial design, employing indigenous and non-indigenous techniques.

- Integration with rural development, and overall national and indust- rial development, so that skills can be used for manufacturing goods needed in the modern sector.

- Diversity of training methods. - Constant interaction between training, community, cultural life and

exchange.

- The expansion of existing nuclei, and the creation of new nuclei for training, design research and production.

- The establishment of a research and training centre: A Rural Industries Development Centre in Dominica, for the Caribbean region in co-operation with the Cultural Division.

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