contents issue two | 2012
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Editor’s Desk
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Edna dos Santos-Duisenberg : Voyage of the creative industries
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50 Years of excellence : the National Dance Theatre Company of Jamaica
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A Taste of Belize
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Jamaica’s Rising Stars No-Maddz: Jamaica To The World Stefanie Belnavis A Dancer’s Lens
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Sketching The Evolution Of Manga
Editor’s Desk congratulations The Cultural Voice eZine team extends congratulations to countries worldwide celebrating 50 years of Independence during 2012. Countries including those in the English speaking Caribbean such as Jamaica and Trinidad & Tobago; the Middle East and African Region such as Algeria and Rwanda; and Samoa a country in the Pacific. We are looking forward to an exciting Olympic season and the fantastic display of culture which will undoubtedly ensue. Cultural Voice will be there. Follow us on Twitter and Facebook for updates. We note that sports is often not included in discussions of Culture but we believe that the platform created for cultural expression should be harnessed as we seek to create greater economic development through the creative industries. Our second issue of Cultural Voice features Edna dos Santos-Duisenberg, a champion for the development of the Creative Industries worldwide, creating the framework which guides much of our current understanding. Whether it is the Samba of Brazil, the Russian ballets, Chinese food, Bollywood or Jamaica’s Reggae music, the creative industries represent a relatively untapped resource for global revenue generation. The Cultural Voice team looks forward to giving voice to many dimensions of the emerging creative industries. Yours in Creativity, Steffi T
s o D a n d E s o t San nberg e s i u D of
e g a y e Vo v i t a e r C the s e i r t s u d In omas
ie Th By Stefan
W
hen researching facts and figures to track the development of the Creative Industries, one often consults the UN Creative Economy Reports (2008-2010) co-authored by Edna dos Santos-Duisenberg, former Chief of the Creative Economy Programme at the United Nations Conference on Trade and Development. Cultural Voice(CV) had the privilege of interviewing Edna dos Santos-Duisenberg a few days after her retirement and gaining some insight into who this dynamic face of cultural research and policy making really is.
Born in Brazil, Santos-Duisenberg started her international career at the United Nations in Geneva in the 1980s, having occupied several positions, including Chief of Cabinet of the Secretary General of UNCTAD. Edna dos Santos-Duisenberg set up the Creative Economy Programme of UNCTAD in 2004 and is noted for launching UNCTAD’s Global database on creative economy, sharing world trade figures for creative goods and services.
Edna D Santosos Duisenbat a gla erg nce
Edna dos Santos-Duisenberg highlighted Carnival as a festival capable of uniting many different areas of the Creative Industries. She tells us that “In countries such as Brazil, Trinidad and Tobago, Italy and Barbados, carnival displays the power of culture and brings together different creative sectors.”
Nationa lit y: Bra zilian Langua ges Spo k en: Portugues e, and a litt English, French, Span le bit of Ita ish, Countr lian ies live d in : Brazil, F Switzerl
rance (3yrs and, Unite d States of ), months) America (4
Edna dos Santos-Duisenberg shared her opinion that she believes that the use of technology is “absolutely” necessary in the development of the creative industries. She shared with CV that “the creative industries must take advantage of technology platforms to stimulate growth.” She highlighted that technology “Stimulates creativity especially in the area of new media, creating new art forms and bringing together sectors that were considered analogue into digital spaces and increasing the incidence of co-productions” while at the same time “allowing developing countries to have access to international markets opening a window of possibilities, democratizing costs, decreasing dependence and presenting marketing solutions.”
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“ Technology stimulates creativity especially in the area of new media, creating new art forms and bringing together sectors that were considered analogue into digital spaces and increasing the incidence of co-productions” 7
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“Sports and the creative industries can be mutually supportive and synergies are important.”
Quick Fact s: Charles Ch aplin • En
glish Comic Act or, Film Direct and Composer or • Born in Lond on, England, on April 16th 1889. • First legitimat e stage show w hen he was 12 years ol d, appearing as “Billy” the page boy in “Sherlock Holm es” • In 1917 Chapl in constructed hi s own studios in the he art of the reside ntial section of Holly wood at La Br ea Avenue • Known for Sile nt Films • Most Famous film star in the world before the end of WWI • Most Famous Films include “M odern Times”, “City Li ghts”, “Gold Rus h”
Edna dos Santos-Duisenberg points out that for UNCTAD sports is not considered to be a part of the creative economy. She explains that this is so because the key component in defining the creative space is the “intellectual property” aspect. Unless one is developing a new sport, or a new twist to how the sport is played, there is very little latitude for creativity. However, Edna dos Santos-Duisenberg says that sports and the creative industries can be mutually supportive and that the synergies are important for the creative industries. As such she believes that events such as the Olympics should be appraised for their ability to showcase and provide spaces for the Creative Industries, especially for the host countries. Edna dos Santos-Duisenberg speaks to the importance of a facilitative policy framework for the development of the creative industries and says that countries in Asia such as China, Republic of Korea, Thailand, Indonesia, and Singapore are ahead of the curve in taking advantage of the growth in the creative industries sector, because their governments quickly put in place policies to reinforce the sector and encourage private sector initiatives. Other developing states must be flexible and take advantage of the changes in the Creative Economy and she believes in the power of Public-Private Partnerships for development. Cultural Icon: Charles Chaplin Charles Chaplin is Edna dos Santos-Duisenberg’s Cultural Icon. She tells CV that his work “really changed the film industry and brought us to a new phase in movie making”. She highlights that he was politically engaged and used his films to deliver messages. Edna dos Santos-Duisenberg points to his brave yet sensitive nature and highlights the caricature of Hitler in the movie “The Great Dictator”, a comedy starring and directed by Chaplin. She views Chaplin as “an incredibly sensitive yet complex artist”.
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Living
s d n e Leg
50 Years of excellence
the National Dance Theatre Company of Jamaica
T
he 1960s brought a renewal of spirit throughout the Caribbean, as independence movements flourished and a new definition of Caribbean culture was carved. Emanating from this era, visionaries Rex Nettleford and Eddie Thomas united, leading Jamaican dancers and musicians to mould The National Dance Theatre Company of Jamaica (NDTC) to champion the rhythm of African drums, embrace ancient retained ceremonial traditions such as Kumina and Gerrehbentah, and establish these alongside modern contemporary vocabulary for a truly ‘Caribbean’ product. What has differentiated the NDTC from other dance groups is the combination of a live musical complement consisting of singers and musicians; narrative dance productions reminiscent of the African storytelling tradition; and the spirit of volunteerism which has allowed for sustainability and a purity of intention for those involved.
Members interviewed spoke of ‘the early days’, when they would go out together and party, watch movies, eat pizza and, as Melanie Graham put it, “drink awful red wine, like vinegar”, saying “there were no imported wines, all locally made”. Bert Rose spoke of having to “be everything, and everywhere” in the early days, each member fulfilling multiple roles, including sweeping the floors, ironing and selling tickets at the front of the house. Barbara Requa mentioned that there were times when Professor Nettleford would go out into the streets and stop cars, inviting passengers to come inside and watch performances for free, just to develop an audience. The early days were most special to Requa as in the first three years the group was fighting to be acknowledged and members worked closely with each other to fulfill that purpose. Barbara Requa • Favourite Dance: “Dialogue for Three” • Closest to Pansy Hassan, Brigette and Maureen Casserly • Alaine Grant, a bridge generation dancer, describes Requa as very grounded and an amazing administrator, choreographer, and dancer. • Enjoys drinking Red Wine
‘Cultural Voice’ interviewed some of the Company’s earliest members whom we regard as ‘Living Legends’, to gain insight into the NDTC’s development and behind-the-scenes moments.
Bert Rose • Closest to Melanie Graham, Yvonne DaCosta, Barry Moncrieffe and Rex Nettleford. • Favourite Dance: “Dialogue for Three” • What has kept the NDTC together: Dedication, Love and Sacrifice • Enjoys drinking Red Wine
BRIDGET SPAULDING • Favourite Dance to watch: “Gerrehbentah” • Closest to Yvonne DaCosta, Andrea Nash-Anderson, Noelle Chutkan • Enjoys drinking Cranberry Juice
“Dialogue for three” (1963) Choreographed by Nettleford
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“Two drums for Babylon” (1963) featuring Bridget Spaulding, Noelle Chutkan, Yvonne daCosta, Mavis Stoppi Choreographed by Rex Nettleford Melanie Graham • Closest to Judith Pennant, Jackie Guy and Patsy Ricketts • Joined the company in 1972 at the same time as Judith Pennant • Graham raises her hat to leaders such as Barry Moncrieffe who have imparted critical training necessary for transferring valuable information to the current cadre of dancers. • Enjoys drinking Red Wine
Bert Rose remembers that it was Nettleford’s dream to do a performance for Howard University. He pulled all the lead dancers from all the schools and incorporated the repertory of Ivy Baxter. Requa had begun dancing with the Ivy Baxter group in the 1950s; Spaulding and Graham danced with Madame May Soohih’s Ballet School, Clive Thomson danced with Martha Graham, Marjorie Whylie sang with The University Singers, Barry Moncrieffe and Bert Rose began with the Eddie Thomas workshop. The late Professor the Honourable Rex Nettleford, the Company’s Artistic Director for 48 years, stated that the aim of the Company was “to forge out of Jamaican and Caribbean life, an art form faithful to reality while being part of a wider world and universal landscape of the creative arts.” Requa remembered the first speech that Professor Nettleford gave to the invited members where he spoke of the need for the group to take the next step towards bringing cultural forms to the attention of Jamaicans. She said that up until then, many small ballet-type companies were in the forefront of Jamaica’s dance theatre space. “Roots and Rhythms” came out of that experience. She says that “people don’t understand that dancing barefoot in those days was a no-no” and that the first time “African
Scenario” was performed, many audience members walked out of the Little Theatre where it was first staged. Melanie Graham who performed “The Crossing”, a masterwork choreographed by Nettleford, on the opening night of the Company’s 50th Anniversary Season of Dance held on Saturday, July 12, 2012, when asked about her favourite NDTC moment, closed her eyes for a second, opened them and said, “When you’re doing a dance that you’re really into, and it works!” Marjorie Whylie, when asked the same question, immediately referenced moments spent with Professor Nettleford saying “that I was with him right through until he passed was a number of favourite moments all coming together,” and that “he was a mentor and friend with a bond that went beyond being a big brother”. Whylie remembers the feeling of satisfaction when her two passions merged, when the University Singers joined the National Dance Theatre Company about the end of 1963, to perform at the opening of The University of The West Indies Assembly Hall at Mona. Moncrieffe’s favourite NDTC experience was dancing the lead in “The Crossing”, because he felt a special connection and historical significance to his life.
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Marjorie Whylie • Closest to Eddie Thomas, Monica Mcgowan, Barry Moncreiffe • Whylie states that the tours were secondary and the main responsibility was to the Jamaican public • Enjoys drinking White Wine
There were of course the lighter moments. Bert Rose recalls Requa during the dance “Galanda La Pava” becoming hooked to a ladder while running from one side of the stage to another, and having her skirt unraveling feverishly as she tried to undo herself, eventually making her next entrance literally “stripped”. Requa remembers when Patsy Ricketts, in trying to run backstage from one side to the other, inadvertently opened the exit door and found herself locked outside the theatre on the sidewalk, with no choice but to walk all the way through the front entrance to get back inside, missing her entrances. Graham tells “CV” that, one night, the girls decided to switch costumes in Nettleford’s “Gerreh”. She remembers switching with Judith Pennant. Nettleford, very upset, “giving a lacing” to all the girls. Graham remembers when he turned to her saying, “Melanie, I would never have expected something like this from you.” The Company had an extended face in the like of Clive Thompson, resident choreographer for the Company. Thompson who began his training with Madame Nayla where he danced alongside Valerie Chin and founding member Maureen Casserly auditioned for the Graham School in NYC and was offered a full scholarship on August 13th 1960 by Martha Graham herself. He moved from beginners to advanced in one year and was then invited to join the company on Broadway. He spent ten years with the Graham school during which he kept close ties with the National Dance Theatre Company. While dancing with the Alvin Ailey Company after his period with Graham, Thompson returned on special permission from Ailey to perform alongside the company at the Commonwealth Heads of Government Gala in Jamaica. Throughout his tenure abroad his identity was linked to the emerging NDTC, and as such he felt himself a representative. Thompson was very inspired to see how the company had evolved when he came back home. He found that the NDTC had similarities to the Ailey Company and shared that it reflected Martha Graham’s company whose principal choreographer was Graham in that most of the choreography came from Rex Nettleford and Eddie Thomas.
Clive Thompson • Closest to Noelle Chutkan, Maureen Casserly, Patsy Ricketts • Resident Choreographer • Enjoys drinking Red Wine
“Peace offerings” Choreographed by Nettleford
The Crossing (1978) featuring Barry Moncrieffe Choreographed by Rex Nettleford
Patsy Ricketts • Started dancing with Eddie Thomas at 18 years old • Closest to Melanie Graham and Judith Pennant: were the trio in ‘Sitting in Limbo” • Favourite Dance: “Sitting in Limbo” in Tribute to Cliff (Nettleford) • Favourite Memory: Performing for His Imperial Majesty Haile Selassie • Enjoys drinking Magnum and Red Wine
NDTC’s Future There are many views and hopes for NDTC’s future. Thompson believes that the Company, like the Greek God “Janus”, must look to the future but remember the past. He says that “in every decade there is change” and all must be aware of the roots that are truly Jamaican and Caribbean. Thompson believes that it is Nettleford’s vision that was the seed planted in very fertile ground that allows the company to continue growing. He says that in each generation there is redefinition; however, there is a responsibility to guard this vision. Requa believes that for survival, the Company should evolve to have a smaller full-time touring ensemble. She believes that the Singers and Dancers can take advantage of individual opportunities to maximize the influence of the Company on the world. Bridget Spaulding believes the Company’s best tour happened in New York City in 2012, and that this gives encouragement for the future. Spaulding also believes that the model of the Company will have to evolve to survive, including potentially working with a smaller core, facilitating easier travel and sustainability. Whylie hopes the generation matures and understands the nuances of the movement quality and style that characterizes the NDTC.
Barry Moncrieffe • NDTC’s current Artistic Director • Favourite Dance: “The Crossing” • Moncrieffe was closest to Bert Rose, Patsy Ricketts, Melanie Graham and Barbara Requa • He signals Bridget Spaulding’s work as critical to the success of the NDTC over the years. • Enjoys drinking Red Wine
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Barry Moncrieffe, who has inherited the responsibility of NDTC’s Artistic Director, believes that the company must follow through on the foundation set by Professor Rex Nettleford, continuing to “look” Caribbean. He quotes Nettleford: “I don’t take coals to Newcastle”, which alludes to the fact that the tradition that makes us distinct is our competitive advantage. Graham believes that too much work has gone into the development of the Company for it not to grow from strength to strength. The commitment often requires sacrifice, and always being there and available to serve. Graham believes that because there was such a strong commitment of the previous generations, there is no fear of losing the essence. Her hope is that the Company continues to embody ‘Dance Theatre’ and says that this aspect, which incorporates ancient African storytelling, distinguishes the Company. She believes that NDTCs greatest contribution to date has been its longevity as a volunteer organization showcasing all aspects of Jamaica and truly symbolizing our motto, “Out of many, one people”. Words of Wisdom: Patsy Rickets: “One of the most important things as an artist is humility. An artist has to keep improving and when you reach onto that stage you must be willing to give of yourself ”.
Barbara Kaufman • Has been Wardrobe Mistress for the Company through the generations • Hopes that the dancers remain disciplined and committed to the vision of the company • Enjoys drinking Guinness
From left: Barry Moncrieffe, Bridget Spaulding, Bert Rose, Clive Thompson at the NDTC Gala 2012
A taste of
Belize By: Lauren Burn
Caye Caulker – Go Slow – is perhaps one of the most familiar signs that greet both tourists and locals to the small, sandy islet floating off the coast of Belize. Although the simplicity of it is inarguable, this seemingly simple idea of going slow, being relaxed and taking it easy may in fact offer a clue to understanding the behaviour and general outlook of most Belizeans. The Belizean cuisine is a sumptuous showcase of the assortment of cultures that form an intrinsic aspect of Belize’s colourful, multi-ethnic landscape.
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The success of ‘Marie Sharp’ and ‘Hot Mama’s’, both known for their hot sauces, as well as a collection of popular gourmet sauces, is tangible proof that the prospect for growth and success in the food industry is very real. ‘Glorious Belize’, a company that is jointly owned by Trinidadian and Jamaican partners has also found its way to Belize and has created its own successful brand of coconut based products and tinned ackee for export. Belize has the unique distinction of being recognised as a member of CARICOM, and also a member of Latin America. This diet of foods demonstrates the influence of the islands and the influence of its Latin American counterparts, as well as, most notably, the influence of Chinese, Indians and Caribs. Together, the African and Carib influences have produced foods that are distinctly tinged with an Afro-Caribbean sensibility; they ooze with the alluring taste and smell of coconuts, fish, pimento seeds, thyme, peppers, plantains and starches. The influence of the indigenous Maya along with the Latin influence have produced dishes that feature the vibrant red of the annatto seed, fresh onions, cilantro, tomatoes, lime, tortillas, beans, corn and all its sweet, savoury and fried incarnations. And lastly, east meets west: the influence of the Chinese and Indians is such that hot curries, yellow ginger, garlic, fermented soy and a diet of rice found its way into Belizean homes. Food is one of the most celebrated aspects of Belizean culture. Quaint, national folk food festivals are a big hit, such as the ‘Cacao Fest’, a celebration of chocolate in a myriad of forms, from a rich, delectable syrup of sorts to this year’s hit, a warm, robust chocolate stout, as well as the ‘Iguana Fest’, celebrating open season is a favourite for many Belizeans, stewed iguana and iguana eggs. Folk food festivals, street-corner food carts, and take-out joints tempt the culinary palate and sensibilities of Belizeans, and incorporate and celebrate the multi-ethnic contributions of the indigenous people as well as migrants to the country. Because food and identity are so intimately bound up, it would appear as though the flavours of Belizean food reflect ultimately the delicate interplay of a shared historical experience, as well as its cultural evolution.
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Belize has the unique distinction of being recognised as a member of CARICOM, and also a member of Latin America.
Nomaddz’: Jamaica
No-Maddz has erupted in 2012 as the band to watch as they take the world by storm. Their unique style, made special by the genius-esque quirks of the individual performers in the band, always engages audiences. Far from traditional, this Jamaican Band aims to stretch the limits of what is considered performance style and form and keeps its live performances edgy and entertaining. Their first video, “Sort out your life”, produced by Mykal Cushnie, has been making waves and features the four band members -- Sheldon Sheppard, Christopher Gordon, Everaldo Creary, and O’Neil Peart -- on a journey around Jamaica.
To The World
Click to see the “Sort out your life”video
By Stefanie Thomas
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“Cultural Voice” representatives sat down with three of the members and asked them a few questions to give our readers greater insight into who and what the No-Maddz represent.
alities. Sheldon Sheppard is ‘The Returning Resident’, Christopher Gordon ‘Not-For-Rent-A-Dread’, Everaldo Creary ‘Homeless Genes’, and O’Neil Peart ‘Mild Mannered Citizen’.
CV: How do you characterize the music that No-Maddz creates? No-Maddz: We characterize it as ‘Bongo music’. The name came
CV: In your travels where would you consider your favourite spot? No-Maddz: Daegu, South Korea, is easily our favourite spot in the world. It’s amazing. South Korea is very First World. There are hardly any concerns about crime. Students walk on the street late at night and there aren’t any police around. The island reminds us of Jamaica, especially, the terrain, the mountains.
about when we were performing in Germany. Traditionally we pay homage to dub poetry music. However, on this particular tour a lady asked, “What do you call it?” Without hearing our response, she blurted, “You know what I think it is, I think it is Bongo music.” So we took it and ran with it. It was so organic for a foreigner to think of something so “indigenous”. So, that’s what it is. Bongo.
CV: Are you excited about London 2012?
No-Maddz: London is one of the biggest things that has hap-
CV: What message are you projecting in your latest Music Video “Sort out yuh Life”? No-Maddz: The message is simple; it is the process of looking
pened to us in a long time. We’re performing at the O2 which is the biggest showcase of Jamaican music this year, bringing Jamaican culture and diversity to the world. After that, we’re going to Germany. Once we hit the stage, someone in the audience is always impacted and they see us and say, “Hey, we want you to perform on another stage, at another event.” So we expect good things from this journey.
within yourself to see what’s your problem and then going back to the table and sorting out “yuh” (your) life. Someone could say, “Okay, the truth is, maybe I am a little bit too jealous.” Or, “Maybe I need to plant a tree.” “Maybe I should give back to Jamaica.” We want people to say, “What can we do for Jamaica? Because Jamaica has done a lot for us.”
CV: How did you come up with the name No-Maddz?
No-Maddz: There was an experimental category introduced by
CV: What is your source of inspiration?
the Jamaica Cultural Development Commission ( JCDC) called Dub Poetry Ensemble. We decided to enter, but we needed seven (7) members. We were in the canteen at Kingston College in about 2000 and were brainstorming different names, including “The Fantastic Four”. The name “Nomads” was said as a joke by Fitz Gerald and then ‘Sheppie’ (Sheldon Sheppard) said, “That is it! Nomads, wanderers, travelling on a journey”. We changed the name to signal that we were not traditional nomads but, rather wanderers with a purpose. No-Maddz also alludes to the fact that we might appear mad, but we’re not. It started out as a journey for a better Jamaica, and has since expanded to include a vision of the world. That is also why our first album is called ‘The Trod.’
No-Maddz: “Life” is a nice answer. It’s the things that happen
everyday. As an actor, you see people around you, and if we couldn’t see people around us there would be no inspiration, because there wouldn’t be a story. So we give thanks for life and people. CV: We understand that you are also designers. Tell us about that. No-Maddz: Worldwide, people are into merchandizing and Jamaicans are just catching on. No-Maddz has a clothing line called “Manalion”. There are four themes reflecting our unique person-
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Get to know the member s of No-Maddz O’Neil Peart on leaving Kingston College went to
Excelsior Community College to pursue Computer Studies. He left Computer Science and pursued an associate degree in Performing Arts at Excelsior Community, where he studied under teachers such as Orville Hall, Kenny Salmon, Patsy Ricketts and Michael Reckord. Then O’Neil went to the Vocational Training Development Institute, and pursued a teaching Diploma in Music. He has been teaching music and drama for nine years. As a performer he still considers himself a teacher, but on a different level. He was featured in the 1998 internationally acclaimed film ‘Shattered Images’ directed by Raoul Ruiz. O’Neil won the Prime Minister’s Youth Award for Excellence in Arts and Culture in 2007 and loves rice and peas and chicken.
Everaldo Crear y was considering going to Edna
Manley College after high school. However, he knew his parents were in favour of a more traditional education and so he registered for a marketing degree at the University of Technology. In his second year he made the ‘best decision of his life’ and dropped out to pursue his acting career full-time. He worked in a number of plays and productions, including Trevor Rhone’s Positive, and Smile Orange, as well as Aston Cooke’s Me and Mi Chapsie, and also acted in Jamaica to Rahtid. Everaldo was the 2005 recipient of the Prime Minister’s Youth Award for Excellence in Arts and Culture. His favourite food/fruit is mango.
After High school, Christopher ”Birdie” Gordon went to Huntington University and studied
Mass Communications and Film. He was on the radio for two (2) hours in Indiana and played Reggae in an all white environment. “Birdie” won the Best Actor award in the role of Joshua in Easton Lee’s play Tarshan Lace and Velvet. He co-wrote various scenes in Jamaica to Rahtid, and was assistant producer for Comedy Bus. “Birdie”, the 2009 recipient of the Prime Minister’s Youth Award for Excellence in Arts and Culture, loves to eat Jamaica’s national dish ‘Ackee and Saltfish’. Sheldon ‘Sheppie’ Sheppard graduated
from Kingston College and started to coach the school’s under- 16 football team. He won the Coach of the Year award. He then worked in the bursar’s office. “Sheppie” worked as a freelance writer, poet, film maker and actor. ‘Betta Mus Come’ was his first feature film and he recently beat major Hollywood talent, including Common and Isaiah Washington, to win the Best Actor award for Betta Mus Come at the 16th Annual American Black Film Festival (ABFF) held in South Beach, Florida in June 2012. Sheldon, the 2006 recipient of the Prime Minister’s Youth Award for Excellence in Arts and Culture, enjoys eating bananas and nuts, and he calls himself “Dr. Spice”.
Stefanie Belnavis
A dancer’s lens By Derefe Chevannes
S
tefanie Belnavis describes herself as, “charismatic and driven, with an insane passion for the arts.” It is that passion that has given life to her dedication to dance. “Dance is a huge part of my being,” she says. “Life without the arts, and life without dance, is not living”. Stefanie Belnavis is a Jamaican born Dance Artist, Choreographer and Motivational Speaker who advocates for dance of the African and Caribbean Diaspora and Dance as Therapy. Belnavis has a positively beautiful and vibrant personality and is an inspiration, not just as a dancer but in her mission. Belnavis completed her B.A. in Contemporary Dance at Manchester Metropolitan University, Manchester, UK in 2008 and has since been pursuing her ultimate goal of becoming a Dance Movement Therapist. Belnavis is now enrolled at Lesley University in Massachusetts, USA, to pursue graduate studies in Dance Movement Therapy (DMT) and Mental Health Counselling. Dance Movement Therapy is defined as “the psychotherapeutic use of movement and dance for emotional, cognitive, social, behavioural and physical conditions.” Belnavis says that her goal is to “introduce Dance Therapy in the Caribbean for creation and rehabilitation purposes”, and tells Cultural Voice that, “We need to understand the therapeutic value of the arts; it is not just for recreational purposes.” She tells us that her long-term goal is to create an internationally acclaimed recreational-based centre in the Caribbean. Dance Therapy as a curative medical tool has been utilized throughout world cultures, the most popular example is seen with Native American tribes, as practitioners use dance to heal. Stefanie confidently expresses that, “Dance Movement Therapy is a viable field. There are many dance therapists and music therapists and it is a growing market”. Dance Movement Therapy emerged globally during the 1940s. In 1966, the American Dance Therapy Association was created to lay the foundation for the development of this relatively nascent, but vital therapeutic medium.
“Dance Movement Therapy is a viable field. There are many dance therapists and music therapists and it is a growing market.” 23
Belnavis, the 2011 Miss Caribbean Metro USA, tells Cultural Voice that the diagnosis of retinal detachment in her left eye a year ago has adjusted the prism through which she observes the world. When asked her reason for entering the competition Miss Caribbean Metro USA, she shares, “Having had medical issues at the time, I was feeling very empowered and I didn’t want anything to hold me back. I had nothing to lose, whether I won or not, I felt that it was an opportunity to get outside the box.” Stepping outside the box has paid off and ‘the beauty queen’ is using this opportunity to change perceptions on what it means to be Caribbean and visually impaired. She also explained that her mantra in life is “be the change you want to see,” words that were first spoken by Mahatma Ghandi. Belnavis shares that from her experience in planning an event, or show, “funding is paramount. You need that money base and that’s usually derived from sponsorship.” She also highlights the importance of building a solid brand and shares that she has invested a great deal in building her own brand so that sponsors, directors and stakeholders will be more willing to be associated. “You have to build your brand because that’s really your marketing.” When discussing the concept of world peace, Belnavis explains, “I think the concept of World Peace cannot be summed up in one sentence, but my sentiment on this matter is simply that this concept has to start with the individual. We have to love ourselves first, unconditionally and unselfishly, and ultimately translate that love to others in our everyday interactions. Who am I to say that our society would never be able to attain World Peace? I would support the idea that only through love can peace be realized.”
Her mantra in life is “be the change you want to see,” words that were first spoken by Mahatma Ghandi. 24
Sketch
ing
The Evolution Of Manga By Franz Brown
The influence of Japanese traditional forms on modern art and culture is undeniable. We explore here a very old traditional Japanese art form known as Manga, which has captivated the world since the 19th century and which today generates mega bucks and has given birth to similar forms in France, the United States and Britain. Manga has become synonymous with comics created in Japan or by Japanese creators. Manga had its origins in the late 1880s and there is nothing trivial about the colourful characters symbolic of Manga. Conversations in text were originally written in the form of long sentences as annotations to character drawings. Gradually this text was incorporated into speech balloons in frames which made this unique Japanese art form more attractive to others around the globe. The 1930s saw a boom in the number of Manga books and magazines that were being printed. Stories of a robot called Astro Boy, who exhibited unusual powers and human-like feelings in one adventure after another, and of Princess Anmitsu-hime, a tomboy princess who escapes from her castle and lives an adventure filled life, readily come to mind. Manga struggled in the late 1930s to mid 1940s during the Second World War, but, as the Japanese saying goes Keizoku Wa Chikara Nari – “Perseverance is strength,” and Manga’s evolution has taken on a life of its own. Manga has generated more than admiration as a unique indigenous art form. It now represents a booming industry generating revenues in excess of US $5 billion dollars per year.
Quick Facts • Manga is normally printed in black or white. • Manga (スリーブ) is the Japanese word for “comics or cartoons”. • Sales generated in Europe and the Middle East: $250 million USD. • Sales generated in the United States and Canada: $175 million USD. • Nora-kuro (“Blackie the Stray”) is the longest running Manga series. It was created by Tagawa Suiho in 1931 and tells of the exploits of an amusingly blunder-prone soldier dog.
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