Portia and Quao

Groundins

By: Charles H.E. Campbell

Sunday, June 17, 2012


FROM the early 1930s through the 70s, disparate strands of the national decolonisation movement -- including elements of the Jamaica Progressive League, Marcus Garvey's United Negro Improvement Association (UNIA), and People's Political Party (PPP) along with many creative workers, such as thespians, actors, writers, visual artists, novelists and musicians — helped to develop the People's National Party and its programme and were later subsumed by it.

Through institutions like Jamaica Welfare and the hard work and perseverance of people like, Tom Girvan, Louise Bennett, Ranny Williams and a host of others, whom may not wish, at this time, to have their affiliation made publicly known, because our politics has become so tribal, the PNP played a pivotal role in facilitating Jamaica's cultural/artistic indigenisation, evolution and development.




SIMPSON MILLER ... proposed the National Commission on Cultural and Creative Industries

Both Norman and his son Michael Manley, certainly understood the role and potential of popular culture, and the latter used it to his maximum benefit. His 1971 musical bandwagon was the most extensive island wide tour of Reggae artistes and musicians up to then. It was during the younger Manley's first term in office, when People's freedom of speech was given more latitude, that Reggae music and other popular cultural forms really synthesised, blossomed, gained the attention of the world and began to flourish internationally.The nucleus of our modern, creative-cultural industries went through its initial birth pangs, taking distinct shape and form.

Inexplicably, during their second stint in office, the PNP seemed befuddled by the increasing commercial success that the industry had achieved during the 80s. Its failure to register the Jamaica Reggae brand and protect our intellectual property as well as establish an Entertainment Encouragement Act, squandered the potential that the music industry created for the country to encourage and facilitate major investments, and the repatriation of considerable foreign exchange, generated in the international market place.

In fact, although I was disappointed with how much they achieved, if one objectively compares the JLP's 2007 and 2011 manifestos with the PNP's, in both instances, one would have to concede, that the JLP's showed a better grasp of the status quo, and what was required to "tun up d ting".

Knowing that there are senior people in her party that are sceptical about the industry's real potential, I was taken by complete but pleasant surprise therefore, to hear the Prime Minister's announcement of the proposed National Commission on Cultural and Creative Industries, and the excellent rationale and terms of reference given for its establishment. To quote her, "whether it is our music, our cuisine, our dance and other forms of our artistic expression, they all represent significant value with tremendous economic potential". She went on, "this Commission will assist the government in establishing the enabling policy and legislative frameworks to maximise the benefits of the Cultural and Creative Industries".

Although di harse dun gawn tru d gate, betta late dan neva, this would be a quantum leap forward. The Prime Minister, however, needs to know that, given the PNP's recent history of inaction in this area, there are many naysayers within the creative sector. This is evidenced, for instance, by the almost total lack of public discussions on this potentially game-changing announcement. The industry is taking a wait and see attitude; action speaks louder than words... and please keep the charlatans and dilettantes off the commission.

On a more imminent matter, the Charles Town Maroon Council will be staging their 4th Annual International Conference from Thursday June 21st to Saturday June 23rd in Charles Town, Portland. Nineteen scholars from around the world will present papers on issues including Maroon history, identity, politics, culture and gender studies. On Quao day, June 23, the Nanny Quao Abeng Award will be presented to the granddaughter of the late Paul Robeson, on his behalf. This is an annual celebration of the Maroon Warriors' victory over the British troops in the final battle of the 1st Maroon war at Spanish River, which led to the signing of the 2nd peace treaty with the Maroons in 1739.






Email: che.campbell@gmail.com



Read more: http://www.jamaicaobserver.com/entertainment/Portia-and-Quao_11721819#ixzz1y5zjBSaT

Calabash's rich literary traditions

Groundins

By: Charles H.E. Campbell

Sunday, June 03, 2012


LONG before the event, I had made up my mind that I would immerse myself into the Calabash Festival programme, having seen the various personalities who would be interviewed, read, or have their prose/poems read, spin records, or play live music. The producers had promised us a special event celebrating our Golden Jubilee and the programme was thoughtfully designed to achieve this objective.



No-Maddz

My biggest anticipation on Friday, was to see how well the literati would receive the performances of Raging Fyah and No-Maddzs. It is my belief, that in our anxiety for Jamaica to join the renaissance in live reggae music being experienced by the rest of the world,in our renewed appreciation of live reggae music, sometimes, we give unadulterated love and uncritical support to the young groups who have been coming to the fore, over the last five years or more. When I attend their events at the few venues, where they have "cut their teeth", the audience at times, seem so sycophantic that one feels compelled to behave likewise and remain silent on any perceived flaws, which if moderated may enhance their stage craft.

By now, all my readers know that in my view, Raging Fyah is one of the hottest young groups in Jamaica at this moment; furthermore they have the kind of lyrics and music that the world is clamouring for. Their lead singer has the kind of charisma and mystical aura that makes him a potential super star.

Raging Fyah's performance on Friday night, however, was not as electrifying or dynamic as one has come to expect from them. I have concluded that they have become too reliant on audience response to propel their usual high-energy stage routine. This performance came at a critical time, just prior to them embarking on their international career. I hope they have come away recognising the need to rap with their audience in-between some of their songs to connect intimately. Lead singer, Kumar Bent's natural charm and charisma are well suited for this purpose.



Raging Fyah performing at the Calabash Festival 2012

The open mic sessions at Calabash on Saturday and Sunday were an eye opener in the versatility and creativity of our young poets and novelists. One of the poignant observations, from some patrons, was that the pieces presented by the students and purveyors of the written word, were much better poems than that of our professional performing poets, who seem to have become so caught up with their ability to string "big" words together, that they may be better defined as word-smiths rather than poets.

For me, the two other memorable features of the festival were the interview of South African revolutionary and author, Ronnie Kasrils, which confirmed the inspiration that Jamaica provided, by way of our symbolic banning of trade with South Africa in 1957, followed by the music of Bob Marley, Peter Tosh and Jimmy Cliff, during the bitter anti-apartheid struggle. Unwittingly, he also provided us with a stark contrast to our local arm-chair revolutionaries of the period.

I had a eureka moment, sometime during the festival, when it dawned on me that the success of our modern pop music is to a degree, because of this rich, literary tradition on which it has been built. Calabash ended on a high, with the live musical review of 50 years.


Email: che.campbell@gmail.com

Read more: http://www.jamaicaobserver.com/entertainment/Calabash-s-rich-literary-traditions_11586424#ixzz1wuX6hV4w