Brand Jamaica and the Artist

A Reminder:

The ever growing conversation about Brand Jamaica and the role of artiste in the creation of this phenomenon has had me investigating our presentation of art in this country, with many disabilities, amidst a growing number of artistes.  Could it have been much easier during the age of Louise Bennett-Coverley and her associates who were then interpretting our culture,while also making room for our culture to take the stage on the international market?

But now we have so many varitations of our culture, beyond the black and white paradigms and its re-presentations, that Miss Lou struggled with and against; it is no wonder we are having a debate on the type of art we create, the kind of art that we dare put on the stage that Miss Lou carved for us and Bob Marley cleared for us. 

We are still in dialogue about the art that represents this country, especially since we are still struggling with issues of class while some are still holding on tightly to the colonial experience.

But how many of us are actually interested in creating purposeful art that will and must make a mark  and not just the regurgitation of formulas that someone has labelled Brand Jamaica? How many of us are interested in using art to recreate instead of replicate culture.

Now as far as I know art is community as much as it is individual. As far as I know art is the creation as much as it is the expression of culture. As far as I know many young artists see their art as a magic wand something to use to save themselves or their families or the nation even the world. So art has been seen as therapeutic to activism to messianic to the key to restoring humanity. This knowledge of inclusiveness of art in a culture and a people can make its creators feel somewhat entitled. It is the curse of the rose tainted galsses.

 Now this is a heavy burden for art to carry. But it doesn’t seem to complain.

Well not until a depressed, broken, tired and somewhat disillusioned artiste, analyst, banker, or politican enters the conversation. Then all hell breaks loose and the question becomes how you are going to eat. Ask not what you can do for your art but what your art can do for you. Like our parents these artist are rationale clear thinkers steering us away from the pitfalls they have seen, and may or may not have experienced; much like many parents who do not own a pair of the rose tainted glasses. And then the commercialized image of our art comes and discombubulates us our culture and the children.

It is of course important for the artist to make his decision about how to use his art, because the age of the starving artist does have to come to an end. So the questions are relevant, but are they all there is in the conversation. Are older artistes who have found success in their field intent on making all artistes see just the financial benefits of the arts and not also its social, national and psychological relevance?

For many years, the complaint has been this from many young artist about their integration into the various fields within the arts. This has caused many a declension and division between the young and the old generation of artists and art lovers. The voice of the older artist can be blinding and deterring young artistes because of their own biases, their own prejudices and their own experiences and observations. These experiences of being rejected and neglected by the politicans and the nation abound; so many are quick to remind us to look at what happened to Miss Lou in the end she had to get health care in Canada.

So it does not take much for such an artist to emerge when we are all dealing with individuals and there has to be hiccups. When as individuals we are all clamoring for success, measured by our own agendas, own interest and motivations, but all the while we are moving toward the same physical objective. And we are al creating in a country where there is no help.

It doesn’t take much for this kind of artist to emerge, especially in a country ripe with young artists and a government that seems to give the most mediocre of handouts as if it were loaves of bread and fish, but constantly reminding us either through words or action that they are not Jesus. And even with these handouts most artistes end up feeling like Cinderella working their ass off in search of a better day only to be abused and mistreated by the dead father’s wife. Artistes are sometimes treated like the ugly stepsister, brought into government functions to entertain. Again we are reminded look at what they did to Miss Lou.

And we still have our hand stretched out, waiting for a congratulatory pay check or a hand shake, maybe even some health insurance?

Recently, it has become clear that there are multiple things to consider. The government is insistent that there has to be a correlation between art and the economy; afterall their mandate is a financial one. And so many artistes seem intent on making it for themselves so that they can show through their taxes (if they pay taxes) how viable art is to the country. But the way I understand GDP to work is it is calculated as the value of all finished goods and services created in the country during a particular time. That seems to include all art. But I am no economist so maybe there is something I am missing from this equation. But if all artistes create and find away to be economically dependent, either as a community or as an individual, then we will all be contributing to GDP. And then maybe we can stretch our hand out for policy changes, importations law amendments, art laureates, fellowships, scholarships that are for the arts as well as the other things the Government should do for its citizens. So, instead of being critical of the wand carriers, how about simply making art, or creating spaces for art to be made. And then look at how we can shape culture instead of complaining about what is being used to represent Brand Jamaica.

For many of us there were no schools. But there were gatherings with political social and financial agendas. How about we rid ourselves of these divisions and create instead a space for the training of artists and challenging the way they think. They all cannot be enrolled at The Edna Manley College of the Arts, this could be online chat rooms, street corners, bars, bus stops. They already know the relevance of money let them see the duty of art. Let us expose young artists to what we have been exposed to, be that books or styles genres even our own work. Talk about our development as an artist, explore how your politics, create a vocabulary a structure for our creativity and show them how they can see that being reflected in many artistes today. Because, as far as I know art is a community.

Our own biases have on many occasions turned away the possible positives of a politically incorrect situation. Sure many of us don’t like to be aided by first world countries and of course because of our history we are wary of their advances under the guise of non profits or charity. But Art does have a social agenda, it is if not critical also a source of funding for many events worldwide. Why are we not doing this? Why are we not using our art to help mobilize change across our country? 

In recent times the writing community has been vital to my own development, either through workshops or just conversations or the Poetry Society. There is value in the established grooming the emerging, it is vital for people who have walked to guide and not direct the feet of the young, we do not know exactly what they have in mind. Be open to change. Be open to more.

In one of my many conversations with writers I have been reminded that there has to be room for disagreements so that there can be room for industry and development. Being an established artist is much like being a parent you want to protect the young, but know they are not your own, encourage them through your own development and work, give them something to look up to. Many reggae artistes are happy to have had Robert Nesta Marley’s story, albums and success to help catapult them on their journey. Mnay actors and poets are grateful for Louise Bennet Coverly. Don't think they should know so they do, help them in the same way someone must have helped you.

Older artists who are you inspiring? How are you helping your community creating a different image of Brand Jamaica? And to those of you who are: Thank you I appreciate it.

A Look at Past Brand Jamaica