“CULTURE IS CURRENCY” - CARIBBEAN MUSIC PRODUCER STRIKES A KEY NOTE

Caribbean music producer and arranger, Eddie Prynze Duberry-Allen, has sounded an urgent wake-up call to artistes, promoters, organisations, and governments in the Caribbean about the revenue (business and national economic) potential of the region’s music sector.

In a scholarly commentary titled ‘Culture is Currency’, he argues that many Caribbean artistes and their respective countries are ‘shortchanging’ themselves.

As a producer, Prynze speaks from a position of knowledge and authority. His impressive and extensive client list includes many of the region’s top soca and zouk stars.

In the comprehensive document, he addresses issues under the headings of: The Creative Wealth of a People, Education and Cultural Infrastructure, Creative Business Training, Cultural Incubators, Museums and Archives, Recording Studios and Government Grants.

“The Caribbean therefore needs stronger systems for creative business training. Educational institutions, governments, and private organizations should develop programs focused specifically on the economics of culture,” he urges.

Montserrat-born Prynze who runs Paran Soundz Global, says artistes must learn how to manage intellectual property, build sustainable brands, negotiate contracts, market digital content, and access international markets.

“Professionalizing the creative sector does not weaken authenticity. It strengthens sustainability.”

He also makes the point that if the Caribbean wishes to build sustainable creative economies, then education and cultural infrastructure must become central parts of national development strategies.

“The Caribbean continues to spend millions importing entertainment while local creatives struggle to secure funding, exposure, and institutional support. International acts are often prioritized over regional talent for festivals and public events, while local artists are expected to perform for “exposure” rather than fair compensation. This imbalance not only weakens local industries but also reinforces the dangerous belief that foreign value is somehow superior to our own.”

At the same time, Priynze says, regional collaboration between Caribbean creatives remains underdeveloped. Islands with shared histories and similar struggles too often operate in isolation rather than partnership.

“Instead of building sustainable creative networks across the region, we compete for limited opportunities while global industries profit from the very culture we underinvest in ourselves.”