Abstract This study highlights another disjuncture in the internationalization of the creative industries policy discourse, a postcolonial disjuncture. Despite reggae’s global popularity and the Jamaican government’s adoption of creative industries discourse, policies supporting the music industry remain lacking. This article demonstrates that economic value alone is not always enough to make a creative sector worthy of policy support, even after adoption of creative industries discourse. The sociocultural history and position of the creative sector are equally important. This article, by highlighting the social and cultural embeddedness of creative sectors, questions the social inclusion benefit assumed of creative industries-led development.

中文翻译：

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当钱不够用时：牙买加的雷鬼，舞厅和政策

摘要这项研究突出了创意产业政策话语国际化中的另一个分歧，即后殖民时期的分歧。尽管雷鬼音乐在全球很受欢迎，并且牙买加政府采用了创意产业的话语，但仍缺乏支持音乐产业的政策。本文证明，即使采用创意产业的话语，仅凭经济价值并不总是足以使创意部门值得政策支持。创意部门的社会文化历史和地位也同样重要。本文通过强调创意部门的社会和文化嵌入，质疑创意产业主导的发展所假定的社会包容性利益。