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Keith Khan, a London-based artist of Trinidadian parentage, impressed a large audience at a one-day conference on culture and tourism held at the Chaguaramas Convention Centre last Tuesday, with a detailed presentation, supported by visual images of the work he has been doing in London and elsewhere, including making use of Notting Hill carnival at various presentations. When I sought to interview Khan, it turned out he was already on the verge of his return trip to London. So he agreed to answer some questions that I e-mailed him. The result is the following interview:
Q: Can you provide some information on what you’ve described as your “Trinidadian heritage”?
A: My father’s family are Khans from Fyzabad, and my mother’s are Mohammeds from Siparia. My parents came to the UK in the early sixties-for further education. But that means I still have plenty of aunties and uncles in Trinidad-I think on both sides of the family there were about 14 brothers and sisters -which means there are enough cousins spread throughout the world.
Your age? Marital status?
I’m 42 and unmarried.
Could you elaborate on your involvement with the London Olympiad of 2012 and other major projects with which you’ve been associated?
I held the post of head of culture for the London Olympics for two years. Prior to that I was part of the bid team. My role was to develop a “Cultural Olympiad” with a range of cultural projects to complement the Olympic Games. This is across all sectors, music, museums, galleries, Shakespeare, online. All of these schemes are now being delivered by major UK agencies such as the BBC, the RSC (Royal Shakespeare Company) to name a few. I also created a day called “Open” where cultural institutions, places of cultural production-such as digital or music studios- open their doors to people who might want to learn or participate in the Olympics. I also prepared a cross-cutting plan for young people across the Olympic portfolio as well as a proposition for the “Festival of Carnivals”.
Prior to this, I was chief executive officer of the Rich Mix Cultural Foundation, which involved managing the start-up and a capital build project worth 28 million pounds. It has three cinemas, with the BBC London Studio as anchor tenants, as well as a number of musical and design-focused creative industries. It was a London and Arts Council initiative to provide a sustainable building in the East End of London. Rich Mix is the first in the “new style” of cultural institutions that goes beyond opera and visual art -and looks at the digital generation. Rich Mix is a very cool place, club nights, programmes around sport and very accessible. I had the opportunity to work with Gilberto Gil, the renowned Brazilian artist and former minister of culture, and we sent digital artists into Brazil to help them capacity build their artists, as well as build Brazil’s first “Pontos du Cultura” in London. It was really good to create jobs for local people with international aspirations.
Before Rich Mix, I was a founding partner of an arts company called “Moti Roti”, which is still running. The last show I created with them was Aladeen. It was a big hit in New York and around the world. Aladeen told the story of the call-centre phenomenon in India, within a sophisticated show which integrated live feeds and technology on stage. Moti Roti is currently engaged, under the directorship of Ali Zaidi, with a range of film and food projects between India, Pakistan and the UK. I’m quite proud this company has been a vehicle for 14 years of a vast range of cultural projects, including the Commonwealth Parade for the Queen’s Golden Jubilee and the show Moti Roti, which was the first Bollywood musical on stage. And that was back in 1991!
What was the main purpose of your return home this time around? And when are you likely to visit us next?
I was a guest of the Ministry of Tourism; Minister Joseph Ross invited me to share my knowledge and expertise about how culture and creativity can be used to diversify T&T’s tourism portfolio. This agenda is one Josanne Leonard has been working on for a number of years now, and I hope Trinidad and Tobago does widen its scope. There seems to be a lot of infrastructure, such as the new academies for the performing arts in Port of Spain and San Fernando. It will be important that the vision for these are placed on the world stage, as well as a local resource. They will need great content and should be mapped into a long-term strategy, particularly considering the opportunity the Caribbean hopes to exploit through the Special Protocol on Cultural Cooperation in the EPA signed with the EU. Trinidad and Tobago has an abundance of cultural assets-a rich cultural heritage, pan, Carnival, amazing food, design and digital, and I hope the Government and State-purpose agencies can work together to ensure the country capitalises on this.
The conference organised by Josanne Leonard was amazing. It was interesting how an international consultant of Caribbean heritage and home-grown regional consultants were combined to contribute to these important discussions. It was a brilliant stroke by the ministry because often we rely on “others” and not ourselves to validate our development and business agendas. The minister gets full marks for using our intellectual capital. The conference also confirmed in my mind that there is such a strong series of tangible opportunities that need to be capitalised on as a joint folio between your cultural and tourism ministries. Last year, I did a similar visit to Australia, and there (over a five-day period), I visited two cities, Sydney and Melbourne, and spoke to the city, the state and a range of local artists. Three presentations per city! And at all levels. This was under the auspices of the Australian government and the Australia Arts Council. They have clearly listened to some of the propositions, and as a result, I will be developing artistic projects with and from Australia. Let’s hope that Trinidad and Tobago and the Caribbean does the same thing.
What is your current status?
Over the past two years with LOCOG (London Organising Committee of the Olympic Games), I stepped away briefly from my creative practice as a director/artist to get right under the skin of the arts ecology to try and create wide opportunities for artists and other creatives under the Cultural Olympiad banner. I was happy to do that because it gave me an intimate knowledge of working in the wider governmental area. Now, the time is right for me to move back into the creative work. As such, I have created a new company called D Lime, which is currently developing a range of arts and entertainment projects and ideas. At the top of the list is an accordion of programmes and events focused on the Caribbean. These include a big musical and theatrical spectral, an orchestra exchange (with steelband), film and fashion exhibitions and some amazing music concerts.
Another current project is a collaboration with the Department for Climate Change (DECC) to identify how artistes can really bring alive this crucial issue of climate change to a wider audience. I’ve also been working as part of an international steering group for the Commonwealth Foundation, under the chairship of Baroness Lola Young, preparing a Declaration on Culture and Development for the CHOGM (Commonwealth Heads of Government Meeting) in November. If I am lucky, I will be back home in November for that announcement.
You said at your presentation at the tourism conference that you didn’t see enough Caribbean products that could live up to “international standards”. What sort of products were you referring to? Could you elaborate on that? And what do you think can be done to improve this?
Having been involved in the arts in London for a 20-year stretch, I have seen diversity projects come and go. I’m not talking about the commercial music success of artistes like Eddy Grant, Bob Marley, Billy Ocean and others like Shaggy, Sean Paul and Rihanna. Or even literature (of a particular era) where the region has made such a great impact but has not been able to realise more mainstream appeal for a number of reasons, including distribution and access to venues. From my own experience, a lot of small, locally-focused pieces come in from the region, and often, they are sold to local diaspora audiences. While these are crucial markets, (plural because the community is fragmented), I still live to see real crossover, high-end, well-delivered cultural projects.
I would like to see a range of contemporary artistic outputs that reflect the Trinidad and Tobago I know, and not just heritage or Carnival projects which are not well funded or promoted and, thus, are not able to cross over. I believe that Caribbean work needs to be better produced and curated, so it can sit proudly along other countries that are doing so much to promote their cultures. For example, look at Nigeria or India, both countries have really created such a range of exciting projects that have completely shifted the global perception of these countries. I believe the time is ripe for the Caribbean region to create some major shows that can sit and run for seasons in the West End or Broadway. Really sophisticated music projects that can validate our steelband alongside orchestras, so the world can experience what the Caribbean offers. Much of what comes to Europe from the region sometimes compounds stereotypes. The exception seems to be visual arts where some truly breathtaking artists have been profiled. Of course, all of this depends on Trinidad and Tobago itself making a sea change jump in developing this.
The government has to support artists with enough freedom so that they are given the power and condition to create. Artists have to be critical and focus on doing great work, and the industry professionals to market and promote must be engaged. My goal with D Lime is to create this artistic and business bridge between the Caribbean and the UK.
Do you work with Trinidadians in London?
There are Trinidadians everywhere! At the Olympics, there are a few Jamaicans in high positions. For many years, I have worked with carnival in Notting Hill-Yaa Asatewaa and South connections-so I’ve worked with some great Caribbean talent that way.
What is the Trinidad and Tobago image like out there in London?
Has our virulent crime rate been spoiling or affecting that image in any way?
I think it needs a bit of a makeover. The Tobago attacks have really dented the view in the UK, and Trinidadian security issues need to be resolved. Within the artistic communities, however, I think there is a good view and excitement, even about the creative imagination and talent that exists, so it would be a shame not to use this right now. Profiling T&T and the region through its culture is really the leap that needs to be made now.
With reference to the 2012 cultural programme in which you said you wanted to have a major Caribbean input, could you explain what this is all about? And what kind of “cultural input” you will be looking for?
The athletic prowess of the Caribbean will be very present throughout the Olympics. The world is on fire with Bolt, Thompson and the Caribbean posse of athletes. At D Lime, we want to work with Caribbean artistes, creatives and ministries of culture and tourism to explore this brand using Caribbean music, digital media and projection, and spoken word and dance. And we hope to incorporate archive media by documenting everything we do, so it is part of a very contemporary performance. At present, D Lime is in discussion with a top multi-arts venue in London to produce a major exhibition focused on Caribbean aesthetics (fashion, film, art, architecture, music etc). It will include a music exchange and artistic capacity-building between London and the Caribbean. This is looking to 2012 with a series of smaller events in the run-up to the Games. The goal is to present these highly-polished and well-produced events, exhibitions and shows brought together with the best of talent from the region, under my artistic leadership.
I’m really excited about being able to use years of artistic and business contacts and networks to brand T&T and the Caribbean, given the window of the Olympics. Now it’s just for regional governments and businesses to move more decisively, understanding that the rest of the world plans ahead strategically. While the Caribbean is late, there is a lot that can be achieved with the right support because T&T and the region is playing catch-up!
What advice would you offer to young people in general and young artists in particular?
Make sure that you focus on excellence in creativity or whatever it is you do; be digitally visible and look at developing markets outside of Europe and North America. Work hard; there are no shortcuts or overnight successes. |