Several stages of blood claat
There was literally a bloodclaat dancehall song during the Dave Kelly tribute on the second night of this year’s Reggae Sumfest festival in Montego Bay,…
Bogle versus Jennings: Another perspective
Part 1 A recent article by Richard Hugh Blackford in the Jamaica Monitor called for a credible image of National Hero Paul Bogle and asserted,…
“Fons et Origo”: The 2022 School Of Visual Arts final year exhibition – Part 2
It is one of the mantras of feminism that “the personal is the political”. This is something the current crop of graduating students at the…
“Fons et origo”: The 2022 school of visual arts final year exhibition
Part 1 Every year in June, the School of Visual Arts (SVA) of the Edna Manley College stages a final year exhibition which features the…
Sponsorship and the near death of stage shows, clashes
There was a period in the early 2000s when I did a year-end stage show circuit of East Fest in Morant Bay, St Thomas; Sting…
Memories of Merciless (and the ‘country artiste’ label)
I have two outstanding memories of recently deceased deejay Leonard ‘Merciless’ Bartley, one of which does not include his physical presence. Starting with the latter,…
The Kingston Biennial – Part 4: In a Holding Pattern
In this final part of my commentary on the Kingston Biennial, I take a closer look at the implications of the key decisions that framed…
The Kingston Biennial – Part 3: Reinventing the Wheel
In this third part of my review of the inaugural Kingston Biennial I provide some history, as a necessary context to my concerns about the…
Clashing within the code
Poking my nose (literally) into a crowd for the first time since the entertainment sector reopened was a blast. A peaceful one, too – it…
The Kingston Biennial: Part 2: Presences and Absences
While I have broader concerns about the current Kingston Biennial that pertain to the self-limiting manner in which the exhibition was conceived and curated, and…