Blackbrd Magazine by Blackbrd Media

Preserving Jamaica’s Artistic Culture

COMPLIMENTARY Volume 1 Issue • |2018 ISSUE101 PASSION PERSISTS

INDEPENDENCE ISSUE

VOLIER JOHNSON 50 years of rich comedic offerings of Jamaican theatre!

MASTER PAINTER

BARRINGTON WATSON

PEASE PORRIDGE HOT A sneak peek inside on of St. Ann’s hidden gems. 1

in memory of Scarlette Beharie Your undying support was like none other

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WE’VE BEEN

EXPECTING YOU!

WHAT IS BLACKBRD? Amazing things happen around us daily and what better way to experience storytelling than from the horses mouth. Our aim is preservation. In fact, we’re kinda obsessed with it. This product represents the ongoing and persistent need to document Jamaica’s artistic culture. From investigating the roars of the ‘keteh drums’ to the silent stroke of an artist’s paint brush, you are always guaranteed an enriching experience.

JAMILA FALAK 24

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contents COVER PHOTOGRAPH

WELCOME TO BLACKBRD MAGAZINE

The publisher would like to thank everyone who has produced information and material for this issue. Unless otherwise noted, artists featured in Blackbrd retain copyright to their work. Every effort has been made to reach copyright owners or their representatives. The publisher will be pleased to correct any mistakes or ommissions in our next issue. Blackbrd welcomes editorial submissions; however, we are a NPO and at this time we are unable to pay our contributors. If you need more information on any of what was mentioned above, or our mission, please do not hesitate to reach out to us.

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/BLACKBRDMAG 5

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Have you ever been passionate about anything? Have you ever fell asleep tightly cuddling an idea, only to wake the following day lovestruck by it? Documenting Jamaica’s artistic culture is what I have steadily been enthusiastic about for the last ten years. It has been my passion. This is why... Jamaicans are raised with ingenuity. Those who are on the tiny rock (living or visiting) will witness hints of magic by way of various art forms on a daily basis. Sometimes this goes unnoticed. I want this cultural exchange to be far more intentional. Queue Blackbrd... We are obsessed with documenting amazing creators and sharing their stories with you. This magazine represents this dream. A dream which has influenced this publication’s theme “Passion Persists.” On April 21st, 2014 I shared this concept with another human being for the first time. Since then, various conversations have happened at different times and at different places. Unfortunately, the funds which would allow this project to take flight weren’t readily available, therefore my main way of moving forward each time would be collaboration. I quickly realized that volunteering is not something Jamaicans are keen on. There were many calls for assistance, but only few would give it serious thought

and eventually follow through. It has been far from easy. The very fact that you are reading this, is a huge victory. So let me take this opportunity to say this would all be impossible if I haven’t had such supportive persons who believed in a mere idea. Over time, it somehow all came together. Therefore I must admit I am delighted to have connected with extraordinary, unselfish, exceptional and very professional collaborators. Such a group would make any visionary proud. If you have experienced any ounce of zest towards anything in your life; I ask that you assist my team and I with sharing this publication with someone else. I ask that you assist us with developing a culture of supporting our practitioners through a strong tribe. Here’s to many more issues filled with continued stimulation of our creative muscles. On this our 56th Anniversary as an independent nation; may we all be brave and confident enough, to allow others to see the labours of our love and dedications without fear or remorse. It is my hope that we can infect society with our vision for a life inspired by creativity.

Kori Solomon Founder and Editor-in-Chief @korisolomon

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EDITORIAL

DESIGN

EDITOR

CREATIVE DIRECTOR

Kori Solomon

SNR. CONTRIBUTING EDITOR & PROJECT MANAGER

COVER PHOTOGRAPH

Dash Photography

Kimberly Solomon CONTRIBUTING PHOTOGRAPHERS CONTRIBUTING WRITERS

Alvin Campbell Danae Ramgolam Christina Garel Gerrard ‘Gerry’ McDaniel Marlon Simms Tara Johnson

Jordache Jones Donnette Ingrid Zacca Claude Michael ‘Jik’ Pringle Donna-Hue Parker Keon Predi Photography Nicholas ‘Twique’ Renford SUPPORTIVE PHOTOGRAPHS

EDITORIAL ASSISTANCE

Shawnae Burrell Cecelia Solomom

National Gallery of Jamaica National Dance Theatre Co. Unsplash Photography PUBLISHER

House of the Arts Jamaica W E E K L Y If you enjoy Blackbrd Magazine, then you will definitely be a fan of our weekly posts on Instagram. Please feel free to share this publication with birds of your kind.

Master Painter Barrington Watson

Pioneering Jamaica Artist ALWAYS AN ORIGINAL

by Alvin Campbell

e was the contemporary of Albert Huie (his elder), and Alexander Cooper (slightly his junior) and other iconic Jamaican artists, but he was always an original, never ever a copy. Barrington “Barry” Watson was a proud graduate of Kingston College and of the Royal College of Art in London. Returning to Jamaican at the time of our independence, he brought with him a fierce passion for all things Jamaican and a hope in the future of a fledgling independent nation brimming with creative energy. He became the first Director of Studies at the Jamaica School of Art and co-founded the Contemporary Jamaican Artists’ Association (1964-74). He later served as visiting professor at the renowned black university, Spelman College, in Atlanta, Georgia.

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Watson won numerous awards, including: a 1967 prize at the first Spanish Biennale at Barcelona; a 2000 Musgrave Gold Medal from the Institute of Jamaica; and the national honour of the Order of Distinction – Commander Class (CD), from the government of Jamaica. The extent of his influence is exemplified by the honour bestowed on him by the city of Atlanta which declared the 11th February 1999, Barrington Watson Day. Most thankfully for us all who remain in awe of his achievements is the creation of a 2015 Lennie Little-White’s documentary film on Watson, They Call Me Barrington. He had a wonderful sense of motion and a great ability to encapsulate ‘attitude’ in his work which often featured ordinary Jamaicans engaged in everyday activities. He showed purposeful groupings but also had strong individual portraits and was not shy about painting the unclad human form.

Barrington Watson at his Eastwood Park studio in 1967

Watson had an uncanny ability to use colour to express vibrancy without actually overpowering the canvas with overly bright hues. His influence has stretched over many generations of Jamaican art. It includes those he taught at the Jamaica School of Art; the many who were inspired by his work;

Barrington Watson – Washer Women (1966), Collection: NGJ

Barrington Watson â&#x20AC;&#x201C; Mother and Child (1958-59), Collection: NGJ

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and a plethora of overseas collectors and critics who turned an artistic eye on Jamaica after being introduced to the work of Watson. Today his style and influence can still be seen in the works of artists like Ebony Patterson, whose Jamaican iconography takes the art into the 21st century pop culture era. So too in the portfolio of Phillip Thomas whose moody almost surrealistic approach adds new meaning to motion and stillness, as subjects of art exploration in the Caribbean context. As one of the most acclaimed Jamaican artistes ever, it is ironic that his strong leadership and tutelage may eventually lead to his demotion in the pantheon of Jamaican art greats as his two sons, Basil and Raymond, have both already created enviable catalogues of art works over many disciplines and may eventually be regarded as superior artists, if not more influential, than their father. He may have departed this life, but his body of work remains and makes Watson an immortal in Jamaican art. BLACKBRD EXCLUSIVE PERCH OVER TO /BLACKBRDMAG TO LEARN MORE ABOUT OUR TRAILBLAZERS Barrington Watson â&#x20AC;&#x201C; Conversation (1981), Collection: NGJ 11

in the

absence of passion Contributed by Christina J.Garel

Failure is inevitable. Therefore you will fail at one or multiple things during the course of your life. Though this is an unavoidable part of life, I am yet to meet a soul who likes to fail. Failure can be discouraging, it can break your spirit and it can even allow whatever passion that exists within you to wither away or flat out die. However, the way we perceive failure is what creates the thin line between successful persons in life and those that settle comfortably into the ‘loser’ category, sometimes permanently. We all fall into this department from time to time; but once you get the concept that it’s a temporary place, you are already on the right track. 12

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The most successful members of society believe if you do not fail at anything in life, it simply means you have not taken enough risks. You have been playing it safe and therefore have been placing an unnecessary cap on your life. To them, failure means you stepped out of the norm and took a chance. It means you woke up and decided to challenge yourself; deciding the daily routine is just enough to keep your fire burning, but not blazing! Now, I’m not suggesting you set your finances on fire or watch your business plan burn through the night while thinking up the best foolproof plan. You can start small. Accepting small failures prepares us for the day that the big failure might knock us off our feet. Try surrendering to the process, hard as it may be. If you were to take a magnifying glass and take a deep look into the lives of the world’s greatest, you would see that they failed many times as a part of their rise to success. You would see that failure molded them into the very persons you admire today. Nelson Mandela encountered a great deal of political resistance before becoming one of the greatest presidents South Africa has ever seen. It was Oprah Winfrey’s major rejection for a raise that motivated her to start her own production, which allowed her to become one the most successful American TV presenters of all time.

J.K. Rowling was literally going from pay cheque to pay cheque; living on assistance from the government before she got a break selling one of the fastest selling books worldwide. Both Bob Marley and his music were repeatedly rejected, before it became embedded as an integral aspect of Jamaica’s culture and respected by the world. When you think about those that begun their journey before you; think about what could have been going through their minds during the moments leading up to their success. I should think there was definitely doubt, lack of self-confidence and that they second-guessed themselves. Regardless, there was always a little voice in their heads saying, “ You can do it! Don’t stop!” A voice they decided to listen to at some point. Take a moment to stop and think about what little failures you have had and be grateful for them. For it is in these downfalls that you will begin to master the art you have within you to be GREAT! Continue to listen to that little voice in your head and keep trodding on. Believe in yourself and what you are destined to become! Be balanced!

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- PEASE -

PORRIDGE H T PEASE PORRIDGE COLD…

Contributed by: Danae Ramgolam

Christmas and the excitement it produces is not too far from here. There are many foods that are associated with this blessed holiday and indeed the entire month of December… the usual ham and sorrel and fruit cakes and such. For me, December and Christmas are all about gungo peas and I will do many things…within reason… for gungo rice and peas and gungo peas soup. People who know me may be shocked that I, a diehard, find- it- any -pawt- it- deh, stew peas lover would say this, so let me explain; red peas is for the rest of the year, gungo is for December. Having said that, last Christmas, I set out to find every purveyor of gungo peas soup I knew, to see if I had a favourite out of the many varieties and methods that there are.

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My Rastafarian friends up in Nine Miles, St.Ann fed me an ital version, well seasoned with thyme and escallion, chock full of carrots, yams, sweet potatoes, few pimento grains and a scotch bonnet pepper that activated the mucus membranes in the nose nicely. I strongly suspect that some of that thyme may have been substituted for a little of the good ole Mary Jane, but…. Seasoning is seasoning, right? It was excellent soup and many enamel mugs later I left satiated and happy. But, while I have absolutely no problem with the meatless variety of gungo peas soup, there is that little part of my brain that says that meat needs to be in it, that the soup is somehow missing an essential ingredient without it. I checked in with Aunty Olga who being a seventh Day Adventist, indulged in the cow but not the pig in her expression of the soup; salt beef, to be exact. At 85 years old she has been cooking for a very long time and once chided me bitterly for committing the cardinal sin of putting irish potato in my gungo soup instead of sweet potato, saying it had the wrong flavour and texture for the soup. I never made that mistake again. Gungo soup with salt beef is incredibly tasty and Aunty does it the good old fashioned, “country” way, using a massive pot outdoors on a coal stove. She believes that a good bowl of gungo soup should be able to support a spoon standing up for a couple of seconds before it starts to tilt to the side. Her soup is thick and hearty, redolent of thyme, pimento and scotch bonnet pepper, full of sweet potatoes, yam, corn on the cob and cornmeal dumplings. I particularly love the corn on the cob! As much as Aunty Olga’s soup hit the spot and deserves some sort of medal, I decided to test it’s flavour against gungo soup that my friend Ann made, with the Christmas ham bone. Ann puts coconut milk in her soup, adding a creamy smoothness

that is delightful. Her soup is not as thick as my aunt’s, but is not watery by any means. The fatty richness of the ham bone lends a flavour like no other to gungo soup and Ann adds yams, flour dumplings and the necessary seasonings of escallion and thyme with pimento and a touch of pepper. Delicious! Three different varieties, three different flavours, all wonderful and fulfilling…but…I decided to take the best of all three and come up with my ultimate gungo soup. My version of gungo peas soup has the abundance of fresh seasonings like my friends in Nine Miles, the creaminess of the added coconut milk along with the ham bone that my friend Ann uses, the delightful flavour that you get from the addition of corn on the cob courtesy of Aunty Olga, rounded out with yellow yam, sweet potatoes and a large scotch bonnet pepper; and like Aunty Olga I am a firm believer in cornmeal dumplings in any kind of pea soup. Plain flour dumplings have no business being there! However you do it though, that delightful little green pea will always be a favourite when the weather starts to get cooler as the Christmas breeze starts to blow.

fifty years in theatre -

a piece of cake

Contributed by Danae Ramgolam

- THE STORY OF VOLIER ‘MAFFY’ JOHNSON When I was asked to do a write up on Volier Johnson it occurred to me that I had never sat down with him to really delve into his life, to faas into his business, so to speak. Of course I know who he is just like every other Jamaican who has ever bothered to take the time to enjoy the rich comedic offerings of Jamaican theatre. I also worked with him for years on Fame FM for Full House Friday (FHF). I know firsthand, the dry wit that can cut down another FHF player is the same tactic that can make him the laughing stock of the room. I know the deep booming belly laugh that can go on and on and makes you grateful that it is directed at someone else. It’s easy to get information on Volier Johnson once you have access to the internet. You’ll find well written, informative articles all over the place. 18

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PHOTOGRAPHY BY: JORDACHE JONES 19

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So when I invited him to meet me at Susie’s Bakery in Kingston for a chat and coffee, I already knew the answers to a lot of the questions I was going to ask. I knew that his first production was while he was still a schoolboy at St Andrew Technical, in Rip Van Winkle. I also knew Trevor Rhone gave him his first break in theatre. I know that his first film role was in the iconic 1972 movie, “The Harder They Come”….”yuh did si di movie D? Mi did play di handcyaat bwoy wey did teef Jimmy Cliff tings. Ah tink about thirty dollar mi get fi da film deh”. Volier walked into the coffee shop, all big eyes, huge grin and pure white hair. He was immediately greeted by a few people who hailed him up as “Maffy”, from his days playing that character alongside Oliver Samuels in “Oliver at Large”. It is a name he will never escape and which he answers to easily. Yes please, he would like a coffee with no sugar and no, he won’t indulge in a slice of cake. I on the other hand had no issue with a sweet, milky coffee and a slice of strawberry cheesecake, big enough to choke a horse. Here after, we got to talking. Again, I reiterate that a lot of what we talked about, I already knew; but the joy for me was hearing it first hand from him and watching the way his face lit up as he recalled memories of plays and productions past and persons

with which he worked. He testifies to being a rambunctious child, always teasing and tormenting his classmates...”yuh know dem provoking likkle pickney deh? Ah did me dat!” He shared that he always knew that entertainment was his calling even though he finds it ironic that Literature was not even close to being a favourite subject in school. Volier revealed that he was actually a dancer as well. This confession allowed him to burst into that hearty laugh, which startled our fellow coffee drinkers. “Mi know sey yuh woulda never believe it sake ah how mi look now, but lawd, mi coulda dance!” Charles Hyatt was his favourite actor and he heaped praises on his skill as both a performer and as a human being; while the person he believes he worked best with is Oliver Samuels, because of the ease of interaction and the great chemistry. His favourite actress of all time is Leonie Forbes…”shi come een like mi mi madda, mi sista, everyting!” He worked alongside Leonie in “Toy Boy” and says he believes that expectations about the production were low. He sensed the public was skeptical that two people could hold the audience’s attention and interest for two hours. But those who gave the production a chance had amazing reviews. Volier chuckled as he recalled how challenging the character was to play…”it was a mad man yuh nuh D, but it was one ah dem wey mad as shad but nuh violent. As a matta of fact, a psychiatrist ask mi afterwards, if mi did ever experience a nervous breakdown before.” 21

Volier does not think that theatre is dying in Jamaica, as he says “Jamaican people love fi si demself, and theatre provides that avenue.” He does believe though that the lack of theatre space is limiting and holding back the industry. He prefers stage to film because he says the stage to audience immediacy allows real energy transfer that is instantaneous, with the joy of hearing people’s laughter in real time. He believes there are bright young people in the industry and urges them to take the time to really learn the craft. He cited Dahlia Harris as one such bright young person whose scripts are real and dynamic…”Dahlia comes to you with a perfect script and as a young director is very talented.” I asked him what that one thing was, that was left for him to do and he said, “a one man show, but mi deh hem and haw bout it (insert belly laugh here) caw…afta mi nuh know wha mi woulda stan up deh and sey! But it woulda nice if mi coulda write down some tings and dweet dis year, nuh true? Celebrate mi 50 years in theatre wid a bang.” I asked what his plans are after exiting the stage…”no plans really. Mi woulda love fi live inna di country and have mi likkle goat and mi likkle pig and suh. Mi always love that kinda life….maybe get one puss.” He had to leave at that point because he had another engagement….”eh eh, look how mi eat off yuh cake eh? Afta mi sey mi nevva want none!”

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What if we could harness our innate creativity and use it to transform our society [and] grow our economy? ~Andrea Chung

British Council Arts . Creative Consultant and Coach Founder Go Global Art & Bookophilia

Contributed by: Kimberly Everett-Solomon

Her style is classic and refreshing. Sheâ&#x20AC;&#x2122;s a peacock among hens and our very first Hatchling. Come fly with Blackbrd and this unique artist that continues to provide entertainment opportunities that only few her age render. The way by which an artist decodes the world is a beautiful thing to witness and Jamila Falakâ&#x20AC;&#x2122;s interpretation is quiet an exclusive one, which distinctively sets her apart from the crowd.

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Jamila Falak

CLASSIC AND REFRESHING Admittedly I had to do a quick search on Ella Fitzgerald in reading this artist’s bio. Which young pikney is inspired by a jazz singer who had experienced the peak of her career in the 1940’s and 50’s? Clearly, by now you and I can already agree this girl is not your ordinary upright bassist. According to her artist ecard “Jamila Falak James was born on November 27, 1993 in Montego Bay, Jamaica. She studied voice, violin and upright bass at the Edna Manley College of the Visual and Performing Arts in Kingston, Jamaica through which she obtained an accredited Bachelor’s Degree in Jazz and Popular Music Studies. She is an alternative Jazz/Pop/Reggae Fusion singer, songwriter, musician and bassist.” Other musicians from whom she takes inspiration include Bob Marley, Lianna La Havas, Beyonce, Tori Kelly (cue another Google search for me) and Björk. During our interview and jam

session at the iconic Harry J Studios, Kingston she shared with the Blackbrd team that she fell in love with music at a very young age. She affectionately recalls her first order of business when she first attended the Herbert Morrison Technical High School was to associate herself with all things music. Here she learnt to play a number of instruments, starting with the xylophone then making her way to the flute after which she moved to the violin. Colour me impressed since my numerous attempts to play the recorder in the 7th grade came to a futile end as quickly as it had begun. She strategically joined the school’s choir as well as the band, in an attempt to consistently foster her dream and fulfill by what she now felt was her calling. At the tender age of 17 years old, she moved right along to the Edna Manley College of the Visual and 25

Performing Arts where she felt most at home. Here Jamila’s passion grew even stronger. For the next four years she pursued every opportunity to perfect her craft. One pivotal moment in her journey was discovering an artist by the name of Esperanza Spalding. She remembers being particularly impressed by her manipulation of the upright bass. Thereafter, she immediately opted for lessons with this instrument and the love affair began. Previous to meeting Falak, I assumed all instruments of this nature should be referred to as the cello, however this is not the case.

So in the event there is anyone else out there that suffers the same misconception, here is the most basic difference between the two. The cello is played sitting down with the instrument between the knees where as the upright bass is played standing or sitting on a high stool. To tell the difference at a glance, consider this fact, in order to support the lower frequencies produced by the thicker and longer strings the body of the bass is much larger. Feels good to be a tad bit more ‘musically inclined’ so to speak, right? Falak certainly offers a breath of fresh air as it relates to local entertainment. Her liberal and eclectic taste in music definitely comes through as she aims to connect with audiences. I was particularly impressed with her old world charm. Being a Jamaican jazz singer/songwriter who also plays multiple instruments was also a well played card. Musicians are certainly not immune to the ‘monkey see, monkey do’ syndrome and if you look around; individuality seems to be quiet a rare thing these days. To step out of the required social prescriptions and be the truest version of yourself is quiet an accomplishment. We are proud to say we have identified one such soul who zigs when many seem to be zagging. BLACKBRD EXCLUSIVE PERCH OVER TO /BLACKBRDMAG TO EXPERIENCE JAMILA PERFORMING SOME CLASSICS

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THE KING of fruits Contributed by Gerrard ‘Gerry’ McDaniel

“Night fell like an overripe mango” Well... that got my attention! The mango that jim screechies and falls without sound, is bound to be a overwheming host to worms. It was one random afternoon during a literature class while I was in Form 1H at Manchester High school, in (the then still pristine) hilltop town of Mandeville. We were delving into a delectable piece of West Indies prose, and twilight being one of my favourite times of the day, I was very connected with the writer. Trouble is – 200+ pounds and a few lost brain cells later, I cannot for the life of me recall the name of the author, or even the name of the work. What I would give to get the name of the anthology. I would like to think it was not just a ‘Gerry-atric’ issue, because not even the formidable former head of the National Library of Jamaica could fathom where to recover this near forgotten gem. The characterization was both intriguing and distressing…but that is the nature of true drama or entertainment – right? Conflict, shades, nuance. 29

My earliest memory of mangoes was the deal making generosity of the common mango. An intimate joy of

brush witaskets named Sweetie. #SugarOverload • It took a trip to an obscure part of Westmoreland to

picking mangoes directly from a tree instead of the pumped up stuff in the supermarket or even from a market stall for me, is to hear the musical sound when it falls to ground. Much to my amusement, I know I can look forward to the start of a wonderful culinary treat when I hear BUFF!

discover the Graham – that’s GRYYAM if you are truly Jamaican. Turns out the fruit was juicy and sweet and fleshy and through a community festival in its honour, provided enough funds to build a staff room in year one and washrooms by year too. Then she left me. • Julie --- now there’s a love story that started on a civilized banquet table, seed scooped and filled with cream. Love at first bite, a 2nd date and a third, and then she moved in with me at my present abode. One summer she was so generous in her love that I was virtually walking on her kids in the backyard just to go hang out the laundry was a feat befitting the skills of a sledder at Pyeongchang 2018… but far less elegant …slipping and sliding, hobbin and bobbin like WOW!

During the summer months on this beautiful island we call home, you can always find copious amounts of this amazing fruit. “Mango fi stone dawg” we say, which meant there were very few hungry tummies in close proximity of this juicy stone fruit. A mango tree in one’s yard was definitely a gift that kept on giving, some all year round. A gift which requires very little in return, oftentimes the occasional pan of water. The only thing better than biting into the succulent and fibrous orange flesh, is the dash to retrieve every errant drop of the sweet serum with a dramatic, full-tongued long lick from the elbow, all the way to the palm, only to attack the other side. This would continue until the seed had no colour left. I became a mango disciple when I discovered the many varieties that exist. • My teen throb was East Indian aka ‘Easty’ with its tapered head and buxom tail. Unusual flavour that had my ticket. • Then while dating my now ex-wife, I fell in love with the Keith, Kent & Tommy Atkins. Let’s just say my taste was flawed on several levels…forget the mangoes! • Riding high with a #1 reggae, I survived a dangerous

But I digress. What was the question again? Ah yes, my favourite mango moment. Ah choice, choice, cruel choice --- how then could I pick just one? At the end of the day, cruel choice notwithstanding – in tribute to my likkle big sista, and to that first real encounter with a juicy yet ‘well-behaved’ succulent delicacy of Caribbean pedigree… She makes the world a better place as it fades into the background of her dominant flavour… …it’s always Julie on my mind! BLACKBRD EXCLUSIVE PERCH OVER TO /BLACKBRDMAG TO SHARE WITH US, YOUR OWN MANGO STORIES

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Contributed by: Kimberly Everett-Solomon

f you’ve been to a Holy Ghost filled church on a Sunday morning on the rock; you would have witnessed that Jamaicans are naturally bred to move with precision and a unique refinement. It is almost as if we are hard wired that way. This same harmony between sound and mobility is echoed on every other street corner hosting this year’s Independence Jamboree. This too can be expereinced in every classroom where children gather to host ‘class parties’ marking school being closed for the holidays. Few may disagree supporting their claims with the famous quote, “Everybody can dance but anno everybadi ah dancer!”

You are free to choose your side. When Snagga Puss released the infamous Tati dance in the 1990’s and declared a ban on “hugging up” I honestly thought it to be one of the silliest things I had ever witnessed. Not a single soul could convince me Jamaican dance culture would score such huge points on a world stage in a few years to follow. That of course was partially due to my own ignorance. It was during the “Dancehall Invasion” on 106 and Park (circa 2003) that I really got a glimpse of the world’s fascination with Jamaican dance.

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The pride I felt then has multiplied tremendously over the years with the emergence of ‘average steet dancers’ becoming superstars. It happened again at the BET Awards in 2013 and by then; had I not been a Jamaican citizen I would have given my kidney to have it be so. Who did proud like me? Quiet a few persons would love to know why this tiny dot on the map has made and continues to make such huge impacts on the world at large. The answer apparently lies at the core of our beings. Jamaicans are animated. We are the sore thumb that sticks out even when we don’t try. We live to share, especially our stories. And it just so happens that one of the ways in which we communicate best is through the movements of our bodies. It feels as if our daily lives are choreographed. Step into a rum bar on a Friday night, observe the children at a birthday party or as mentioned above Sunday morning church service. The stories are fresh, they are unique and they are ours. Lest not forget the pinnacle of dance expression. Dare we not ‘dash out’ or ‘dinky mini’ pass the real stage for the everyday postman, nurse or entrepeneur to ‘bruk it dung.’ The ‘session’ or ‘dance’ is a sacred space for self-expression. The restrictions are very few, the only one I can list right now is the unavoidable concept of gravity. In this arena… fashion, fun and frolicking all go

hand in hand. This is a place to show up and certainly show out. The history dates back to the late 1950s and early 60s. My sources tell me the main aim of a street dance was to celebrate our impending independence from the Queen’s land and oh what a joyous time it was recalled to be. The ‘hugging up’ concept of dancing (i.e. waltzing and other ballroom, slow tempo styles) was rejected and a red carpet was laid for more Afrocentric, urban forms of expression. The dancehall session or dance is the primary space for the quintessential Jamaican man and woman to break free of the bank teller uniform, the upper St. Andrew laugh, the overwhelming landlord or whatever other mold or burden with which they are challenged. Here, passion is the alcoholic beverage and harmony is the chaser. So whether you are a dinki mini champ, ravers clavers (imaginary or forgotten) member or you have finally mastered the art of flinging your shoulders; a deep desire to move is at the core of our beings. Sometimes we are aware of it and so we nurture it. Others will feel ashamed to conduct themselves in a hooliganistic manner and silence that desire. The truth is, not everyone is capable of dancing well, but it has been PROVEN that every yawdi has at the very least, the potential, to be a dancer. You are free to choose your side...

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There is a specific set of core genetic instructions, that we call the human genome that resides in rod like structures called chromosomes. This genome consists of 23 pairs of chromosomes with half from the sperm and the other from the egg, both consisting of thousands of genes identical to our parentâ&#x20AC;&#x2122;s genome. However, its important to note that its only the 23rd chromosome that determines your gender. This genome is our first inheritance. I am saying this, not to start a science lecture but to highlight where inheritance begins and the influence of 38

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the nature/ nurture factor. By nature we are born with a combination of a pool of characteristics from both our parents. This was not by choice, however what we do choose is how we apply these characteristics to our everyday life. I like to simplify nature/ nurture as what we don’t have control over and what we do respectively. Through my dad I realize that parents have a superhero power of being able to identify their child’s potential without us even knowing it, as this was the case for me. I feel that I was guided by him to make choices that would lead me to become the person I am today mainly because he knew it resided in me. What he didn’t expect is that with his dominant characteristics, I would have gravitated to the same passion that he had which was for music and the music business. Even though by ‘nature’ I inherited the role of the management of his estate, it was by choice that I immersed myself 100% in the continuation of his legacy. There were many options to sell the recording studio. There were also opportunities to engage in an entirely different industry. However, after being exposed to what the industry was about and how it impacted so many

lives, I became aware of the magnitude of work it required to build this foundation. Therefore it made sense to continue the work associated with this rich legacy. The interesting thing about inheritance is that nurturing does not always allow a scenario where the successor chooses the same path. When I say path it has nothing to do with following old methods, but to carry on core values that where set for a specific cause, that surpasses us as an individual. Not to say that to have a different path is wrong, but to highlight that our time on this earth and the aging of the flesh and blood sometimes limits the extent of the reach of our cause, and it is the continuation of that cause, which creates an extent to the impact it has. For me I was lucky enough to have the same core values, and believed in the cause that was initially established by my father. This is the ingredient to bridging the generational gap. For it is the alignment of this passion, that activates blends between the generations. This same passion is what is responsible for the fire that takes you through the obstacles that will comes our way. When this gap is bridged it provides reference to the direction going forward. As the past causes the present, and so the future.

BLACKBRD EXCLUSIVE PERCH OVER TO /BLACKBRDMAG TO LEARN MORE ABOUT OUR CONTRIBUTORS

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passion persists

ISSUE 01 | PASSION PERSISTS

THE NDTC Contributed by: Marlon D. Simms, Artistic Director National Dance Theatre Company (NDTC)

In 1962, the year of Jamaicaâ&#x20AC;&#x2122;s independence, the National Dance Theatre Company (NDTC) of Jamaica was established and has since been steadfast in its commitment to create works of art reflective of the movement patterns, music, culture and life of the Caribbean people. The works, some which have stood the test of time, were borne from a pre-independence generation of artists who traversed local communities to study the traditional folk forms of the Jamaican people. The results of their research in folk, fused with ballet, modern dance and traditional music, created an expressive language that captured the ebbs and flow of Jamaican and Caribbean life. Many hours were spent in the early years, ably led by co-artistic directors Rex Nettleford and Eddy Thomas, to formulate a vocabulary that was unmistakably Jamaican and distinctly Caribbean. Infused in the Companyâ&#x20AC;&#x2122;s vocabulary are the isolation of hips found in the spiritual practices of Kumina, liberal rib-cage rotation in Gerreh, the conscious groundedness of 43

Kerry-Ann Henry in Tony Wilson’s ‘Weeping Window’ (2016). Stuart Reeves Photography

the body in relationship to the earth, as well as the influence of retentive poly rhythms in the body drawn from African cultural expressions. It had to be truly representative of local customs, but not insulated from other forms of recognisable creative theatrical expressions. At the heart of the experimentation was a deep sense of nationalism, a conscious effort to augment the visibility of a people of excellence on the global stage, and to contribute to the affirmation and movement of a unique cultural 44

Mark Phinn in Jamie Thompson’s ‘Don’t Leave Me’ (2013). Jamie Barnett Photography

identity from a part of the world that had been shaped by centuries of suffering and severance. The first generation of 16 NDTC artists were driven by their passion and a desire to create excellence. This produced critically acclaimed dance works including: Gerrehbenta, Kumina, Drumscore, The Crossing, Nai Woman of Destiny, I not I, Edna M, Steal Away et al. In recent years, new generation artists have added to the rich repertoire with Hommage a’Dambala, A Prayer, Congo Laye, Beres on Love, Urban Fissure,

ISSUE 01 | PASSION PERSISTS

“There cannot be national development, without cultural development.” ~Richard Lunsden

Programme Director, Vision 2030

Rough Draft, Garvey Lives and many other works in the repetory. The music performed by the Company’s Singers and Orchestra remains critical to the NDTC tradition. The prevailing strength of the Company speaks to the authenticity of its vision, the fortitude and insight of the imaginative artists and the depth of their creative intellect in creating a space to celebrate and recognise Jamaican and Caribbean culture. Sustaining the Company’s legacy and moving forward with the changing times come with its expected challenges. However, the passion of the Company persists to adjust and continually overcome them. Over the last quarter century there has been tremendous shift in social consciousness and nationalism due to globalisation, increased modes of communication and the development of technology. Artistic process and product share are evolving relationships, providing quick access to information and creating a deeper and wider understanding and appreciation of the creation of art. The digitisation age, which creates alternate realities, sometimes shapes what individuals define as wants and needs from a plethora of choices that now exist. The Company has therefore been keen on shaping its work to persistently reflect evolving and diverging issues, without undermining its core ethos. Staying relevant in the midst of this ongoing discourse has been essential. The artists through their own social awareness and ongoing exploration of current trends and issues keep the Company at the centre of the everchanging society and conversations about the arts and culture. Further, Nettleford’s posturing on the ‘harmonisation of technological thought and spiritual 46

feeling’ have now come to bear on the work of the Company in the 21st Century. The work of the NDTC continues through its dedicated members of dancers, singers, musicians, creative technicians and administrators. While the Company evolves, adapts and reflects the changing times, the impetus for this commitment is to be found in decades of exhibited passion that will continue to drive the company into the next 56 years and beyond. BLACKBRD EXCLUSIVE PERCH OVER TO /BLACKBRDMAG TO LEARN MORE ABOUT NDTC & THE BLACKBRD PROJECT

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Lauryn Rickman in Nettleford’s ‘Tintinnabulum’ (1997). Jamie Barnett Photography

Thank you

for your interest!

Blackbrd has been nesting for the last four years! When we created our final publication for House of the Arts Jamaica, there was already the plan to move forward with this current product. It was strategically designed to showcase our growth, sophistication and most importantly, our authenticity. Little did we know that raising the stakes would be so challenging. We tried and tried and tried again- only to fall flat on our faces countless amount of times. But in the moments we thought there was absolutely nothing worth celebrating about the climb; redemption would present itself in the most intricate ways. This is a project that means a lot to us and the persons involved. It represents tenacity and dare I say one more time, passion. We have quiet a few plans in the pipeline that we can only achieve with the continued support of persons

who share a similar vision. We are a NPO that honestly wishes to start a fire and make a change in our small corner. This debut didn’t happen by “buck ups” and we have many persons to thank along the way. Please, feel free to email this to your friend in Germany; head on over to our Instagram page and like a few posts or share Jamila Falak’s rendition of Cherry O Baby in your favourite Facebook group. Help us spread the word and show the world the power of our artistic culture. Afterall, owa ting world class! Ease out...

Kimberly S.

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Culture is an effective tool for development if carefully handled. As a country we will benefit immensely if we learn to combine effectively neo-liberal development with relevant traditional culture. ~David Owusu-Amoah

a gift for

Jamaica

showcasing the labour of her creative children

Preserving Jamaica’s Artistic Culture

/BLACKBRDMAG The blackbird goes from tree to tree, sharing news with it’s counterparts. Please accept our introduction to this publication and feel free to share with other birds of your kind. 52