Out of Many, Fi Wi Langgwij

Lake Rotorua

Late one night, several years ago, I find myself in idle conversation with a drunken Maori man in the main bus station in the city of Auckland.  I’d just come by train from Rotorua, a fantastic region of New Zealand full of geysers, mud pools and all sorts of volcanic activity.  I was quite tired from the four-hour journey so I was definitely not in the mood for conversation with sober people, much more drunks.

“Kia ora!”, the man calls out.  After almost a week in New Zealand I know this means ‘hi’ in Maori.  I pretend to be deaf.  But this old man is persistent and quite loudly repeats his ‘kia ora’.  He proudly announces, “That’s ‘hello’ in my language, Maori.”  Big laugh now.  “You can say it?”, he challenges me.

Fijian women in traditional dress

I say to myself, “This man drunk but im not drunk to dat”.  So I decide to humour him.  I imitate his greeting and he laughs heartily.  “Good,” he says, “Not like these pakeha people.  Can’t talk Maori”. I also now know that ‘pakeha’ means ‘white people’ in Maori.  The old man warms to the conversation.  “You from Fiji?”, he asks.  “No”, I respond.

Naturally, this monosyllabic answer is getting us nowhere.  So he follows up, “Where?”  I say, “Africa”.  Then he asks, and I should have seen it coming, “Kia ora!  How you say ‘hello’ in your language?”  Big trouble now.  What am I going to tell this man?  Im drunk, so I’m tempted to make up some mumbo-jumbo.  But that would be taking a joke too far.

English colonized by Africans

So I draw my ‘real-real’ language, Jamaican.  I tell him that in my language we say, “Wa a gwaan?”  So for the next few minutes this drunken man keeps on repeating, “Wa gwaan?”  He doesn’t quite catch the extra ‘a’ in the middle.

My sister, Donnette, who used to work for an airline company and so could do crazy things like fly from Maryland to New Zealand for a long weekend, is by this time shaking her head in amazement.  Her contribution to the conversation is, “I hope is not this kind of fraudulent information you been giving out along the way”.  I was on a six-week lecture tour of the Pacific.

“Fraudulent?” I protested.  “‘Wa a gwaan?’ is kinda African”.  After all.  Even though ‘Wa a gwaan?’ is really Jamaican not African, we all know where Jamaican came from:  various dialects of 17th English colonized by speakers of various West African languages, for the most part.  I know that some backward people still insist that Jamaican is not a language; it’s just a ‘corruption’ of English.  Africans are doing the corrupting.

So ‘wa a gwaan?’ is nothing but a rotten version of ‘What’s going on?’  But, trust me, nobody who doesn’t know Jamaican, drunk or no drunk, would ever figure out that ‘Wa a gwaan?’ started life as English.  It has been completely disguised.

Language death and rebirth

While in New Zealand I was fortunate to interview Professor Pat Hohepa at Auckland University’s Maori Studies Centre.  One of his big concerns is what he calls ‘language death’.  There was a period in New Zealand’s recent history when it looked as if the Maori language was dying out.

     Now, there’s a concerted effort to teach Maori in schools.  Speaking the Maori language is recognized as an essential way of keeping the culture alive.  And it’s not only Maoris who need to learn the language.  If pakehas are really serious about creating a truly bi-cultural New Zealand, they will have to learn Maori too.

Professor Hohepa also talked about reggae music in Maori.  And he highlighted Bob Marley’s revolutionary music as a language of resistance for the Maoris in their struggle to regain control over their collective destiny:  “Every man got a right to decide his own destiny”.

I wonder how long it’s going to take us in Jamaica to realise the value of the new mother tongues Africans created in this country and across the African diaspora.  Our educators don’t seem to understand that as long as we tell children that they ‘chat bad’ when they use their mother tongue, we are planting the seeds of low self-esteem.  And we will reap badness.  Or, perhaps, we do understand and that’s why we refuse to acknowledge Jamaican as a ‘proper-proper’ language.

International Creole Day

Creole languages map

Last Friday was International Creole Day. The Jamaican Language Unit at the University of the West Indies, Mona, led the local celebrations.  Regretfully, these were affected by Hurricane Sandy.  Across the Caribbean region and the wider Creole world, the resilience of the speakers of often-marginalised languages was acknowledged.

French Creole languages are spoken and written in Haiti, St. Lucia, Dominica, Guadeloupe, Martinique, French Guyana, Reunion, Seychelles, Mauritania and Louisiana.   The vocabulary of our own Jamaican Creole is mostly of English origin.  So it’s sometimes not so easy for amateurs to see how different the language really is from English.

We don’t fully understand ‘wat a gwaan’ with the other aspects of the Jamaican language such as grammar, word order and the structure of sounds.  And we arrogantly refuse to take the linguists seriously even though they actually know what they’re talking about.

Mother and Tongues by Vito Bica

If we had stopped to listen to the linguists who have been doing serious research on Caribbean Creoles for more than half a century, we would have realised by now that we should have been joyously celebrating the Jamaican language in this fiftieth anniversary of independence.  For language is one of the primal expressions of identity.

One of the big ironies of our racialised national motto is that it fails to recognise that it’s not a vague ‘out of oneness’ that unites us as a people.   It’s the specificity of the Jamaican language.  Most Jamaicans, irrespective of class, colour, gender, sexual orientation and age, are more or less competent speakers of Jamaican.  And if you don’t know the language, you are the odd one out: yu salt!  Yu no know wat a gwaan.

NEPA Selling Off Jamaica’s Future

The ‘P’ in NEPA certainly does not stand for ‘Protection’.  It’s ‘Planning’.  And it looks as if the National Environment and Planning Agency is planning to let the Housing Agency of Jamaica (HAJ) sell off as much protected land as ‘developers’ want.   NEPA doesn’t seem to know that protecting the environment should actually be high on its agenda.

On Tuesday, October 2, NEPA called a meeting at the HAJ to advise that it has approved plans to chop down the whole hillside from the Long Mountain Country Club all the way down to the Pines of Karachi – for house lots.  The tag line of the HAJ is “Building Jamaica.  One Community at a time”.  In the case of Long Mountain, it’s more like, “Tearing down Jamaica.  One hillside at a time”.

Long Mountain Country Club

The Long Mountain Country Club should never have been approved.  But greed often takes precedence over commonsense.  The 2000 Environmental Impact Assessment (EIA) for the project identified grave risks.  The potential threat to the Mona reservoir was foremost.

An estimated 50% increase in surface runoff from the site was likely.  If this runoff got into the reservoir it could “negatively impact the water quality.”  The four wells at the foot of Long Mountain could also be contaminated as a direct result of the development.

Mona reservoir

The report documented the risk of soil erosion as a result of “removing vegetative cover to facilitate construction.”  It advised that, “a build up of sediment reduces the capacity of the reservoir and could also clog pipes and drainage outlets, increasing the maintenance cost of the reservoir to the National Water Commission”.

Despite all the warnings in that 2000 EIA, both the Ministry of Housing and the developer, Robert Cartade, simply disregarded the report.  With the complicity of the Cabinet, led by former Prime Minister P.J. Patterson, protected public lands were captured for the private Country Club.

 

 ‘Wa gone bad a morning’

The proposal that has now been approved by NEPA was also the subject of that 2000 environmental impact assessment.  Again, the risk to the reservoir was highlighted:  “Additional storm water will be discharged into existing drainage channels to increase erosion on the lower slopes facing the reservoir . . . .  From field observations, there are a number of drainage channels on the lower slope that are capable of carrying storm water laden with sediments directly into the reservoir during periods of high rainfall.”

Long Mountain

Apparently unconvinced by that damning 2000 EIA, NEPA insisted that the HAJ commission a new environmental impact assessment.  The latest EIA concedes that, “the proposed development site is zoned for public open space in the 1966 Confirmed Kingston Development Order for Kingston while in the emerging Kingston and St. Andrew Development Order, 2008, the proposed zoning is public open space/conservation”.

But the two-faced assessment observes that “there has been in the past a relaxation of the zoning restriction”.  So because there have been breaches in the past we should just keep on turning conservation areas into housing!  Both NEPA and the HAJ are promising that it’s only 20 acres that are to be sacrificed this time and 200 acres will remain as public open space.  A promise is a comfort to a fool.  Soon it will be another 20 and another 20 until the whole of Long Mountain overlooking the reservoir will be one big ‘development’.

Both NEPA and the Housing Agency of Jamaica are on a very slippery slope.  They appear to be operating on the ‘principle’ that ‘wa gone bad a morning cyaan come good a evening’.  But is this really so?  Why can’t we stop the erosion of protected lands?  Why should the water supply of Kingston be put at risk?  So that fifty-eight lots can be sold to selfish people who simply must build their dream house on what is supposed to be public lands?

Stinking development

NEPA has stipulated conditions to be met before the HAJ can proceed with selling the lots.  The malfunctioning sewerage system at the Pines of Karachi must be fixed once and for all.   It was sewage from the Long Mountain Country Club that caused the problems further down line:  stinking development.

But at a meeting last year with citizens concerned about the impact of the new development on surrounding communities, the HAJ admitted that it needed the money from the sale of the lots to fix the sewerage system at the Pines of Karachi.  So how is this going to work?  Create a problem and fix it by creating another problem?  And who is going to enforce compliance?  NEPA?

The fifty-eight lots are all on a slope.  So if a sewage line from the site is broken, gravity will feed the waste directly into the reservoir.  Even worse, the lift station for the development is to be located right across from the reservoir.  In the event of an earthquake or even a burst pipe, sewage is likely to flow freely into the reservoir. Is this what we want?

There is also the issue of traffic congestion.  No new access roads are going to be built for the development.  Instead, dead-end roads in Beverly Hills are going to be turned into thoroughfares.  How can this be fair to residents who for over fifty years have lived in relative peace and safety?

Beverly Hills has already been forced to bear the burden of increased traffic from the Long Mountain Country Club.  Montclair Drive used to be a dead-end road.  The developer of the Country Club asked that the road to be temporarily opened up to facilitate construction.  Cartade drew a pretty picture of how the restored cul-de-sac would look:  a beautiful cut-stone wall would be the centrepiece.

  More than a decade later, there is no wall.  And the second access road on the plan for the Country Club has not been built. Residents of Beverly Hills have been hitting their head against the proverbial wall trying to enforce compliance. It looks like only Prime Minister Simpson-Miller and her Cabinet can save Long Mountain from this new wave of backlash development.  Or, God forbid, natural disaster!

Peter Tosh Did Not Joke With Words

Shortly after Peter Tosh made his last concert appearance in December 1983, I did an interview with him that was published in Pulse magazine.  One of his most powerful declarations was this: “. . . me don’t run joke wid words.”  Tosh was objecting to the way in which the term ‘peace treaty’ was being used so loosely.  And he gave a rather irreverent sermon on the subject:

“Claudie Mashup, or weh him want to name, him came to my house once and told me about this project that they had.  And dem say that dem going to call it a peace treaty.  I a look fe peace.  Because to me, peace should have really meant people respecting people, people loving people.

“A man becoming his brother’s keeper.  A man can lef him door open an go bout him business and a next man don’t come pop it off.  Is so me call peace.  A man don’t have gun over the next area an a tell you say him have a border cross ya-so and you can’t come across there.

  “So I mek them know me don’t run joke with words.  Every time I see the word ‘peace’ you know where I see it?  In the cemetery:  ‘Here lies the body of such and such.  May he rest in peace.’  So how a guy waan come tell me say him a go have a peace treaty amongst the living, where all the dead rest in wha?  Peace?  Ah-oh.”

I don’t know if this wicked mashing up Massop’s name was a Tosh original.  There are many such examples of witty word play in his lyrics.  Poliomyelitis became reggaemylitis, a joyous infection that moves every muscle in the body.  The words ‘system’ and ‘situation’ were cleverly transformed by the insertion of a well-placed ‘h’ and ‘t’.  Tosh evoked the stench of the oppressive dunghills of social injustice and moral corruption that continue to rise up everywhere in Jamaica.

In his dread lecture delivered at the so-called “Peace Concert” in 1978, Tosh chanted down the excremental system:   “Four hundred years an de same bucky maasa bizniz.  An black inferiority, an brown superiority rule dis lickle black country here fe a long [t]imes.  Well I an I come wid Earthquake, Lightnin an Tunda to break down dese barriers of oppression an drive away transgression and rule equality between humble black people.”

Garvey’s African Redemption 

Peter Tosh was an unapologetic advocate of what Marcus Garvey called “African Redemption”.  We hear this in his rousing anthem,  ‘African’, from the 1977 Equal Rights album:  “Don’t care where yu come from/  As long as you’re a black man/  You’re an African.”   Not all Jamaicans would agree.  Some of us don’t even want to admit that we’re black, let alone African.

In a letter to the Editor published in The Gleaner on September 25, Daive Facey asks a revealing question, “Who are ‘Blacks’, Ms Cooper?”  He already knows the answer:  “Many classified as ‘blacks’ based on external features and placed into the 90 per cent majority can easily trace their mixed lineages, and in terms of genealogy are no less Caucasian, Indian or Chinese”.

Mr. Facey is quite right. Many clearly black Jamaicans routinely claim ancestors of other races who have left no visible traces of themselves on the body of their supposed relatives. And even in cases where some racial mixing is evident, the African element in the mix is always the half that is never told.  Mixed-race Jamaicans are half-Indian; half-Chinese; half-Syrian; half-white.  But never half-African!

It is only people of African descent in Jamaica who do not define their racial identity in terms that point to ancestral homelands.  Europeans, Chinese, Syrians and Indians are all raced and placed in their very naming.  Africans are ‘so-so’ black.  Going against the tide,  Tosh deliberately chose ‘African’ as a marker of racial identity.

‘Inna di race ting’

In a witty newspaper article entitled ‘Perkins and Black History,’ the now late Eric ‘Macko’ McNish, former editor of the Jamaica Beat newspaper, related an anecdote that illustrates the complexity of racial politics in Jamaica:  “When Chinese Jamaicans and East Indian Jamaicans used to organise annual cricket matches between an All-Indian XI and All-Chinese XI at the Chinese Cricket Club (now owned by Melbourne), all Jamaicans applauded it.

“However, when two Black Jamaicans (which included this writer) asked the captain of the East Indian XI, who was a former Boys’ Town player, if an All-African XI of Black Jamaicans could play the winner of his match against the Chinese XI, his answer was ‘Bwoy wi doan waan get inna di race ting.’”

Tosh was more than willing to “get inna di race ting”. He establishes ‘African’ as a racial category and then goes on to assert, “No mind yu nationality/  You have got the identity/  Of an African.”

Furthermore, Tosh’s conception of African identity is quite inclusive:

No mind yu complexion

There is no rejection

You’re an African

Cause if yu plexion high, high, high

If yu plexion low, low, low

If yu plexion in between

You’re an African

Though Tosh seems to assert a hierarchy of high, low and in-between complexions, it is the very notion of hierarchy that is being contested.  Whatever the physical manifestation of ‘africanness’ in terms of skin colour, there is a rooted cultural identity that transcends the physical. ‘There is no rejection’ of mixed-race people from the category ‘African’.

Peter Tosh was one of reggae music’s greatest philosophers. In honour of his life and legacy, the University of the West Indies, Mona  hosteed a symposium on Friday, October 19:  “Peter Tosh – Reggae Revolutionary and Equal Rights Advocate”.   Tosh’s children, Niambe and Dave, as well as Herbie Miller, Clinton Hutton and I were the main spekaers.  Michael Barnett chaired the event. None of us ‘dida run joke wid words’.Ma

Throwing Words and Calling Foul

Zafer (Turkey), 2nd place winner

At the opening of the ‘world-a-reggae’ poster exhibition last Sunday at the National Gallery of Jamaica, I had an arresting conversation with one of my upper-upper uptown friends.  In a conspiratorial tone she insisted that she had to have a word with me.  Then she disclosed that one of her grandfathers was Scottish from Port Royal and the other was Haitian. One grandmother was Indian. She didn’t mention the other.  My friend wanted me to know that she was ‘out of many, one’.  And she was Jamaican.

I agreed.  I didn’t see a problem.  Then she told me she’d gotten to understand that I was saying that people like her are not Jamaican.  I was ‘flabberwhelmed’.  That’s a lovely word from one of the novels I’m teaching this semester:  Changes, by the Ghanaian writer Ama Ata Aidoo.

Where did my friend get this nonsense? I’ve never said ‘out of many, one’ people are not Jamaican.  I’m not crazy, though to judge from some of the feedback to my columns on the Gleaner’s website, you would think I’m certifiable.  My friend couldn’t come up with any particular source.  She had heard it or read it somewhere.  ‘Yu see how people get bad name!’  Just like that.

All the same, I was glad she had confronted me.  I was able to reassure her that I definitely thought she was Jamaican.  Of course, I also had to gently remind her that she didn’t look like the majority of Jamaicans. Then I tried to explain the real issue as clearly as I could.  It’s mostly ‘out of many, one’ people who are usually used to represent the national motto.  It’s as if they are the sum total of the Jamaican people.  She got my point.

Who is Jamaica, Again?

      I’ve been trying to figure out how this wicked rumour started.  It might have been triggered by the provocative headline of that New York Times opinion piece I wrote which was published on August 6th:  “Who Is Jamaica?”  But if you read the article you would immediately see that my answer does not exclude anybody.  Whosoever will may come.

The column generated a lot a debate in the local media.  And a lot of misunderstanding.  Once I realised how contentious the article had become, I asked the Gleaner to republish it.  I know lots of people don’t have access to the Internet.  Anyhow, so far, the Gleaner hasn’t seen fit to make the column available to the local audience.  ‘Mi ongle hope a no bex Marse Gleaner bex, seh mi a kip man up a New York wid im.  Mi a free agent’.

Where could this untruth have come from?  One of my colleagues had brought to my attention an article written by Jean Lowrie-Chin, published in the Observer on August 20. I’d read it and ‘mi just kiss mi teet’.  I figured Jean was ‘playing fool fi ketch wise’.  She couldn’t possibly be throwing words at me.

I decided to take a second look.  Jean’s column is headlined “Jamaica Still Ahead of the Race Curve”.  And she asks an inflammatory question:  “Will the UWI Mona folks who refuse to accept non-blacks as Jamaicans forgo their salaries and professorial chairs, since they are so heavily subsidised by non-black business owners who contribute significantly to our national coffers?”

Who are these “UWI Mona folks”?  Are they, perhaps, mythical? Jean is a distinguished graduate of the UWI’s Department of Literatures in English.  So she knows about myth and metaphor, connotation and denotation, imagery and symbolism and lots of other literary terms.  She couldn’t possibly have asked that question without being conscious of its nuances.  But ‘since as me know it coulda never me she a talk bout, she can gwaan throw her corn.  An me wi call foul’.

Craziness is relative

But quite apart from that foul ‘throw-word’, I’m surprised that Jean Lowrie-Chin doesn’t seem to understand the principle of academic freedom.  Why should any professor at the University of the West Indies – or any other academic institution for that matter – feel constrained to say only what private sectors companies want to hear?  Perhaps that’s how it works in public relations.

            Jean isn’t the only culprit.  In a letter to the Editor, published in The Gleaner on September 29, with the headline “Cooper Stuck in Racist Confrontation”, Elvena Reittie tells an outright lie in her last sentence below: “On Sunday, September 23, 2012, Professor Carolyn Cooper expressed concerns about the selection of children who were first displayed on the Jamaican two-dollar bills. She feels that Afro-Jamaicans who now form the greater portion of our population were not fairly represented in the picture. She feels that the selection of the children should have been all black Afro-Jamaica children.”  I never said that.

Minority groups in Jamaica tend to get jumpy when black people start to talk about racial politics. In a column published on January 16, 2012, headlined “An Honest Look at Jamaica”, Jean Lowrie-Chin asserts:  “Jamaicans have hybrid strength from the intermingling of various ethnic groups and there is nowhere in the world that enjoys our high level of racial harmony.  So let us vehemently reject Carolyn Cooper’s declaration that those of us whose ancestors did not hail from Africa are mere ‘minorities’.”  I didn’t say ‘mere’.

Privileged people in Jamaica are not prepared to lose status, even if it means admitting that they can’t do simple maths.  All that ‘minority’ literally means is smaller in number.  The sad irony of race in Jamaica is that numerical minorities tend to hog the majority of social space in so many arenas.  That’s why Jean Lowrie-Chin can ask, with a flourish of unquestionable authority,  “And what is this crazy accusation of racism in the selection of those featured in the Observer’s Page 2?”  I guess the right answer to that rhetorical question is this:  craziness is relative.

Israeli Artist Wins First International Reggae Poster Contest

For the first time in its almost 40-year history, the National Gallery of Jamaica (NGJ) is hosting an exhibition of poster art.  It opens this morning at 11:00 o’clock and showcases the top 100 entries from the First International Reggae Poster Contest. Six hundred and seventy-eight designers from 80 countries submitted 1,142 posters! The lyrics of the Hotstepper, Ini Kamoze, are the inspiration for the title of the exhibition: ‘World-a-reggae’.

‘Freestylee’ poster

The contest was co-founded by Michael ‘Freestylee’ Thompson, a  Jamaican digital poster artist, and Maria Papaefstathiou, a German-born  graphic designer and art director who now lives in Greece.

Michael defines himself as an ‘artist without borders’.  This is not just because he was born in Jamaica, lives in the U.S. and traverses the globe on the digital highway.

Thompson’s conception of his ‘freestylee’ art as borderless also signifies his refusal to get caught in narrow definitions of ‘high’ and ‘low’ culture or ‘pure’ and ‘commercial’ art. And his work is ‘outer/national’.  It’s rooted in Jamaican culture and, at the same time, incisively engages with the whole world of international politics.

Maria’s brilliant blog, <www.graphicartnews.com>, documents what she calls her ‘twin passions’:  graphic arts and photography.  She describes her blog in this way:   “It is a blog for graphic designers and photographers, focusing on high quality designs and art photography. The ultimate desire is to constantly inspire people and expand their work all over the world.”

Maria’s ironic design

Partisan ‘Politricks’

Like Maria, Thompson is a politically committed artist whose sophisticated posters lucidly articulate the breadth and depth of his insights.  In an interview posted on the House of Reggae website, he talks about how he started to do poster art.  His story is a graphic indictment of partisan ‘politricks’ in Jamaica.

“My poster art goes back to the late 1970s in Jamaica. My first protest poster was about an incident in Jamaica called the Green Bay Massacre. An incident that took place on January 5, 1978 in which seven youths from the South Side ghetto in Kingston were lured to the Green Bay military firing range in Hellshire, St. Catherine and were executed by JDF (Jamaica Defense Force) Soldiers. This incident was shocking when the truth came out and I had to use my art to protest the massacre by the Jamaican State.

“Some Reggae artist[s] at the time also recorded protest tunes about the incident, songs like ‘Green Bay Killing’ by Big Youth and producer Glen Brown. Incidentally one of the youths who was killed in the massacre was a young Reggae singer name Glenroy Richards who ironically recorded the chune ‘Wicked Can’t Run Away,’ on Glen Brown’s ‘Youthman’ riddim. This chune was later renamed ‘Green Bay Killing’, this was a wicked dancehall anthem and a haunting tribute to those who suffer injustice at the hands of the ‘wicked men’”.

Reggae Hall of Fame

Thompson conceived the International Reggae Poster Contest as a first step towards the construction of a Reggae Hall of Fame Pavillion and performing arts centre in downtown Kingston.  Thompson’s grand vision encompasses not just the intellectual capital of reggae culture but also the symbolic architecture of the building that would house the enterprise.

Biomuseo, Panama City

Michael ‘Freestylee’ Thompson is talking Frank Gehry:  architect of the Guggenheim Museum, Bilbao, Spain; the Walt Disney Concert Hall, Los Angeles; the Experience Music Project, Seattle; The Vitra Design Museum, Germany; the Novartis campus, Switzerland.   A magnificent BioMuseo has been designed for Panama but it’s still under construction.

So why not Kingston, Jamaica?  I can just see it.  On Kingston Harbour, the 7th largest natural harbour in the world, with the majestic Blue Mountains as a spectacular backdrop, an organic mass of crumpled steel rises to affirm the indomitable spirit of the Jamaican people.  Well, that’s before the IMF ‘done wid wi.’  Greece and Spain, here we come.

Yes, ‘wi ha fi tek bad tings mek joke’.  But fun and joke aside, doesn’t reggae music deserve a hall of fame worthy of the global reach of Jamaican popular culture?  Who would have thought that out of Kingston’s concrete jungle would have come a ‘riddim’ of resistance that now reverberates across the world?  Reggae music and its wild child, dancehall, symbolize the unlimited potential of the creative industries that enable hard-working, talented people to make ‘nuff’ money out of brainpower.

Jamaica Music Museum

Thompson’s dream of a Frank Gehry-designed Reggae Hall of Fame does not at all diminish the value of the pioneering Jamaica Music Museum, now temporarily located on Water Lane.  ‘Yu ha fi creep before yu walk an den bolt like Usain’.  Mr. Herbert Miller, Director/Curator of the fledgling museum, is doing the best he can in the cramped quarters he’s been assigned by the Institute of Jamaica.

The Museum’s current exhibition, “Equal Rights:  Reggae and Social Change”, uses mostly record album covers, along with sound clips, music samples and poster boards to document social history.   It resonates with the National Gallery’s ‘World-a-reggae’.  Both exhibitions focus on visual sound.  The powerful word and sound of music are transformed into the equally powerful image and ‘zeen’ of graphic art design.

All the same, can you imagine what a Gehry building would do for downtown Kingston? And for the Jamaican economy?  Without a penny in my pocket for the project, I contacted the Frank Gehry practice and was taken quite seriously when I asked if the firm might be willing to consider designing the Reggae Hall of Fame.  What is needed is a formal proposal and a commitment from ‘whole heap’ of people all over the world who love reggae music to come up with the ‘dunny’.  It shouldn’t be hard to do if the overwhelming response to the First International Reggae Poster Contest is anything to go by.

Alon Braier, winner of the contest, is a freelance illustrator and reggae musician living in Jaffa, Israel. His brilliant poster, “Roots of Dub”, features King Tubby, Lee ‘Scratch’ Perry and Augustus Pablo. Alon uses the image of the recurring circle to represent dub echoes. He got it completely right.  I knew he had to come to Jamaica for the opening of the exhibition.  I called my sparring partner, Ainsley Henriques, honorary secretary of the United Congregation of Israelites in Jamaica.  He immediately caught the vision of cross-cultural exchange.  With the support of the Israeli government, ‘di yute deh yah’ in the Promised Land of reggae.