ISSUE 16 of the Small Axe journal takes an engaging swing at the visual arts in the Caribbean and in particular cuts into several of the issues surrounding the arts in Jamaica at present. The journal presents a handle for those who want to understand the Caribbean art scene to hold on to. The issue also features work by three artists, Khary Darby, John Beadle and Peter Dean Rickards.
The Journal was produced for September of last year, and it is clear that the surrounding Laura Facey Cooper's 'Redemption Song' was used as the ground upon which these investigations in this visual arts special issue were erected. Indeed, the issue contains a special forum on 'Redemption Song'.
Even though some of the articles like 'Krista Thompson's insightful and informative look at the works of Edna Manley and Albert Huie, '"Black Skin, Blue Eyes": Visualising Blackness in Jamaican Art, 1922 -1944' flash forward to the 'Redemption Song' debate, the journal goes well beyond it. As such, several articles deal with the issues of representation and others deal with the representation of the Caribbean in the Euro-American Diaspora. Even then, these articles are somewhat related as much of the debate about 'Redemption Song' is a debate about representation.
THE FORUM
To its credit, Small Axe 16 is quite representative of the Redemption Song debate. The forum features six articles. It begins with an interview with the monument's artist, Facey, by Petrina Dacres. Dacres also writes another article 'Monument and Meaning'.
Three additional articles, Carolyn Cooper's 'Enslaved in Stereotype: Race and Representation in Post Independence Jamaica'; Narda Graham's 'Whose Monument?: The Battle to Define, Interpret, and Claim Emancipation'; and Susan Main's 'Monumentally Caribbean: Borders, Bodies, and Redemptive City Spaces' round out the forum.
Dacres' 'Monuments and Meaning' makes it clear why the art community cannot simply dismiss the furore surrounding the erection and unveiling of Redemption Song as much ado about some bronze. The article is beautifully written, is informed, and presents an interesting look at monuments, from our representations of heroes to Redemption Song, and their role and relation to history. She argues: "The case of Laura Facey Cooper's Redemption Song, like other public monuments that are controversially received in Jamaica, is important because it can reveal specific postcolonial investments in history, identity, and memory."
Indeed, the articles presented in the forum bounce beautifully off each other and either add
to or counteract arguments
presented. As such, when Dacres' interview with Facey-Cooper is combined with the articles by Cooper and Graham it becomes evident that much of the debate was aroused because Facey-Cooper's personal vision as an artist was unable to cross the border of public consent.
A VOICE
Additionally as both Graham and Cooper cite quotes from men in the street (Cooper uses a taxi driver and Graham a Rastaman on a bus) they allow the general public to have some voice in what would otherwise be a debate among the elite.
Interestingly, both Graham and Cooper are also opposed to
the elitist notions which they
see represented in either 'Redemption Song' itself, or the comments of those who defend the monument. However, in doing so, both argue that those who support the statue are in favour of elitist ideals and opposed to supposed 'butuisms' which leaves no room for those who are not elitist but in support of the monument because they understand what it is attempting to represent.
Even so, Graham's argument that many Jamaicans have been deemed unqualified to judge how they should be represented in Jamaican art, is an insightful one, and cuts to the heart of the situation of art in contemporary Jamaica.
RACE
Additionally, both Cooper
and Graham explore the place of race in the debate about Redemption Song's ability to represent. "Also being white, instead of placing the theme
of Emancipation in the very
specific context of the
enslavement of African peoples now living in Jamaica, she has universalised it, making it a generic emancipation in which she can also participate."
It is a point, that especially after reading Dacres' interview, one cannot ignore. Nonetheless, though both Cooper and Graham plead race, they both ignore the racism of those opposed to the statue because it is deemed 'too black'.
Main's article brings a great summary to the monumental debate, tying together the
various strands of the arguments and taking them further through her own observations and
analyses.
The journal presents an impressive body of work
that raises several questions about the nature of art in the contemporary Caribbean.
