On November 12, 2024, the Jamaican Ministry of Culture, Gender, Entertainment, and Sport launched the Jamaica Entertainers and Creatives Insurance Plan (JECIP), a long-awaited initiative designed to support the country’s cultural and creative industries. The plan will provide Life and Health Insurance coverage of up to one million Jamaican dollars per person for the 4,425 individuals registered in the Entertainment Registry. Funded by the Government’s Consolidated Fund, the program aims to address the gaps and vulnerabilities experienced by creatives, many of whom faced severe financial strain during the COVID-19 pandemic shutdown.
While this initiative is undeniably a step in the right direction and a much-needed response to the challenges faced by Jamaica’s creative professionals, it also highlights the broader need for a more comprehensive and sustainable policy framework for the creative sector. At the launch event, it was clear that the excitement surrounding the insurance plan was tempered by unanswered questions and concerns about how the plan would integrate into the larger ecosystem of Jamaica’s culture and creative industries.
The introduction of JECIP is a timely response to immediate needs, but it lacks the supporting infrastructure of a cohesive policy vision. It is an isolated program with limited scope, implemented without the backing of a broader, long-term strategic framework that would ensure the sustainability and growth of Jamaica’s creative economy. This raises questions: Will this program be a one-time solution, or will it evolve to become a part of a more structured, resilient industry?
The insurance scheme, developed in collaboration with Guardian Life Insurance Brokers, offers clear benefits to creatives in the short term, but without a larger policy vision, there are concerns about its lasting impact. One potential improvement could be an optional feature where creatives could match the Government’s contribution to enhance their insurance coverage—creating a model of shared investment that might better support the long-term sustainability of the scheme.
However, the issue at hand goes beyond insurance. To truly transform the cultural and creative sector, Jamaica needs a robust policy framework that not only addresses the immediate needs of its practitioners but also incentivizes financial institutions to engage more deeply with the creative industries. The creative sector should be seen as a business—an evolving and growing ecosystem that requires specialized financial tools and instruments to reduce risk for both creatives and the financial institutions that seek to support them.
For more than a decade, discussions about developing a comprehensive policy for Jamaica’s creative economy have been ongoing, yet progress has been slow. A framework was established in 2015, but it lacked the necessary “simultaneous implementation” of programs that could address urgent issues while laying the groundwork for long-term growth. Despite efforts to push forward in 2017 and 2019, the full policy was stalled by the impact of COVID-19, which necessitated a shift toward digital innovation but also exposed the fragility of the sector. The proposed omnibus legislation, which was meant to modernize the sector, is still in the process of completion, yet it remains disconnected from a clear entertainment policy. The current state of policy development leaves many creatives unsure of where they stand in relation to government programs, such as JECIP, and whether they truly qualify for these initiatives.
At the heart of the challenge is the lack of clarity surrounding the configuration of the creative industries. As the entertainment, culture, and creative industries (ECCI) continue to expand and diversify, many practitioners are unsure of where they fit within the sector. The absence of clear classifications and subsectors has created a fragmented approach to policymaking and public information delivery, making it difficult for creatives to understand their place within the larger ecosystem.
This confusion is further compounded by the requirement that creatives be members of a professional organization in order to benefit from JECIP. While this may encourage greater formalization of the sector, it excludes emerging fields such as pyrotechnics, independent media, and social media management, which are still in their infancy and lack formal industry representation. Without clear guidelines or access to information, creatives in these newer fields are left in limbo, uncertain of whether they qualify for the program or how they can participate.
Ultimately, the JECIP is a welcome but short-term solution that underscores the need for a more robust policy that can guide the sustainable growth of Jamaica’s creative sector. While the insurance scheme provides immediate relief, it is not a substitute for the larger systemic changes needed to support the sector’s future. For true long-term growth, the Jamaican Government must prioritize the development of a comprehensive cultural and creative policy that includes financial tools, clear classifications, and greater public awareness.
As the policy discussions continue, it is crucial that the voices of creatives be heard, ensuring that any future initiatives not only address their immediate needs but also provide the foundation for a thriving, sustainable creative economy. In the meantime, we remain hopeful that the forthcoming policy will offer a clear direction for the sector and that Jamaica will be able to harness the full potential of its cultural and creative industries.
Dr. Deborah Hickling Gordon is a member of the UNESCO Expert Facility on the Diversity of Cultural Expressions, Coordinator of UWI Mona’s Bachelor of Arts in Cultural and Creative Industries, and the PNP Spokesperson on Culture and Creative Industries.
