Tanya Batson-Savage, Freelance Writer 
IAN ALLEN/STAFF PHOTOGRAPHER -Mbala
THE POETRY Society of Jamaica was in its regular home, the amphitheatre at the Edna Manley College of the Visual and Performing Arts, last Tuesday for its regular meeting. But the fellowship departed from its regular routine by presenting poems from a series of their members, in tribute to Black History Month, rather than having a main poet.
However, before they took to the stage, the open microphone segment took place, beginning with a poet who named himself Billy the Seaweed with Radical Poetry trilogy, which if nothing else provided an energetic, engaging performance.
Sage provided the first hard-hitting piece of the night with One Black Family, which is a tribute to Haiti. Kashka Hemans, with Hasta Siempre, and Nesta Andrews, with Crimson River, continued the poetic intensity.
It was Kurumakka, however, who seemed intent on shredding the house with his extensive rhythmic exploration of how Satan is ruining the world by creating sexual confusion. He had the audience laughing uproariously.
AMERICAN POLITICS
AND CULTURE
The segment ended with two poems that tore into American politics and culture. The first came from Abebeh who slew American politics with intense word deconstruction, fuelled by Jamaican folk knowledge as he wove a line from the statue of liberty to the war in Iraq, arguing that declaring war on a country to give them democracy does not leave the country with much choice in the matter.
The final poet in the open microphone segment, who named himself Josh, carried on that baton with Reaction, a poem which borrowed from Saul William's Blood Letting.
That main event began with Tomlin Ellis, who read a poem written by a workshop of Poets in Unity, the forerunner to the Poetry Society. Ellis was followed by A-dziko Simba and Mbala on a series of instruments. Though he wore a brilliantly new djembe around his waist, Mbala made several trips to his bag of instruments, as he did not play the new drum while accompanying her. As a result, Simba jokingly requested that the new acquisition be given applause.
MEMORIES OF SLAVERY
Delivering three poems Simba moved from memories of slavery to the need for internal revolutions and finally the rhythm of freedom. Her performance displayed her ability to deliver politically cutting words, and yet sound soothing in part because of how she breathes the words into life.
The night also featured poetry from Melville Cooke read by his wife Wendy McClean. She began with Black History, which argues that by focusing on issues of slavery and freedom, therefore ignoring what happened before and after, Black History Month relegates black history suffering and struggle. Real U.S.A, where U.S.A means United States of Africa followed, while One Love which puts black love above the loving everybody concept ended her reading.
The night ended with the return of Mbala. This time he recalled A-dziko, then additional reinforcement in the guise of dancers and 'players of instruments'. That call meant that they could rummage through Mbala's overflowing bag of instruments. With joy, they readily did so, though it was clear that most had not the first clue about how to play their instrument of choice, with perhaps the exception of the shakers.
