It is that time of the year when the graduating students of the "School of Visual Arts" of the Edna Manley College stage their final year exhibition. The show will feature works in Ceramics, Textiles, Visual Communication (Graphic Design and Illustration), Painting, Art Education and Sculpture. The show will open on Saturday June 4 at 6:00 p.m. and the guest speaker will be Ms. Lois Sherwood, artist and entrepreneur. There will be entertainment as well as cocktails provided by Sangster's Rum Cream.
The show will continue daily until June 17, 2005.
Tuesday, May 31, 2005
Friday, May 27, 2005
theatre Roundup
THE BLACK THAT I AM & WINE AND ROSES
Despite criticisms leveled in respect of quantity and quality,
Jamaican theatre has not slowed down in 2005. Younger talents
are increasingly finding their way amidst the veterans and in
the two above-mentioned productions, one is heartened to see
young writers, Karl Williams and David Tulloch coming to the fore.
The Black That I Am
Written by Karl Williams
Directed by Brian Heap
Cast: The University Players
Phillip Sherlock Centre
To have fashioned a theatrical revue from his own poem is commendable
enough. To have created a work as vibrant, as bitingly contemporary and
funky as The Black That I Am is worthy of celebration. Collaborating with
Brian Heap, his dramatic cohorts in the University Players and choroegraphers
Shelly Anne Maxwell and Neila Ebanks, karl Williams has crafted a visual statement,
both manifesto and documentary, on today’s Jamaica, a place where overt class prejudices
and latent colour prejudices (sometimes they’re overt too) coalesce and bubble over in
an intriguing but piquant stew.
No topic is sacred or off-limits: race, religion, sexuality, even the Jamaican
preoccupation with team sports are skewered with gusto and panache, the language
combining grit, wit and forthrightness in near equal measure but never veering into
vulgarity.
The cast was excellent as a whole, but on the night this writer viewed the play,
the women were in ascendancy. Monique Caesar showed consummate skill in her monologue
of a black Jamaican young woman about to marry a white man. He variations in modulation
and her timing in "fixing up" for the nuptials were a treat to watch. Nadia Khan riffed
eloquently on racial ambivalence, trying to decide what racial box to tick on her
immigration form while awaiting a flight to New York.
Neither of those were as compelling however, as Nadean Rawlins’ sublimely venemous
Church Lady, heaping condemnation and epithets on an unseen Afro-centric "church sister"
amid choruses of "hallelujah" and "preach brother" her underlying mercenary motives
(the sister in question does not patronize her clothing and hair store). Whipping her
fan open and closed to punctuate her seething diatribes.
The men held their own, especially Jerry Benzwick as the "girls man" with a twist in
"I Do Women" and Peter Parkinson as a game show host(squinting and shifting his weight
from one leg to the other in mock concentration) in which the participants shuffle giant
letters to spell out racial double-entendres. A taped vox pop with persons from different
walks of life giving their thoughts on the term ghetto yielded some interesting and
humourous perspectives but could have been trimmed a bit. Choereographers Maxwell and
Ebanks kept the cast collectively light on its feet and in near perfect time.
The Black That I Am is more experimental in its sensibilities than the majority of
local theatre offerings but it offers lot ,both in terms of form and content to
theatregoers of all stripes and is deserving of a wider audience.
Wine And Roses [A Gentleman’s Hand]
Written by David Tulloch
Directed by Michael Nicholson
Cast: David Tulloch, Totlyn Oliver, Paul Skeen, Marguerite Newland,
Courtney Wilson, Sandra Knight
Little Little Theatre
Adapted from a previous radio presentation by current cast member Totlyn Oliver,
the one-act drama Wine & Roses begins on the familiar premise of a younger man-
older woman relationship.
Tulloch’s script however, proceeds to add a variety of complications to this rubric.
The woman in question is married (her husband is away but set to return); the young man
is coping with the absence of his father and his mother’s near-smothering attention,
as well as that of a girl his own age (Knight). Class and social issues are thrown
into the mix as well, largely in the form of the young man’s friend, a mechanic and
prototype of the inner-city Lothario. Through the characters, the author also makes
comments about the gun culture, the place of the church in modern society and contemporary
music (read dancehall) in contrast to "vintage" .
The functional set is split between the homes of the two main characters, with the
action alternating almost equally between the two. Tulloch and Director Nicholson
go easy on the audience with mostly short scenes and no distinct monologues. The
action builds steadily towards a somewhat implausible yet entertaining resolution.
Both leads are hampered, albeit minimally, by voice tones that tend toward deadpan,
but their mannerism make the age gap manifest. Wilson, as Deeko, the "mechanic" can
hardly tame the urge to overact, but comes into his own in a fine segment opposite
Newland, who hits the emotional marks of her character with little apparent effort.
Paul Skeen, as the husband, is in similarly good form, eliciting scorn, pity,
antipathy and admiration from the audience with similar ease.
Wine and Roses will leave a pleasant taste on the palates of those seeking a
refreshing, well-balanced evening of theatre.
Despite criticisms leveled in respect of quantity and quality,
Jamaican theatre has not slowed down in 2005. Younger talents
are increasingly finding their way amidst the veterans and in
the two above-mentioned productions, one is heartened to see
young writers, Karl Williams and David Tulloch coming to the fore.
The Black That I Am
Written by Karl Williams
Directed by Brian Heap
Cast: The University Players
Phillip Sherlock Centre
To have fashioned a theatrical revue from his own poem is commendable
enough. To have created a work as vibrant, as bitingly contemporary and
funky as The Black That I Am is worthy of celebration. Collaborating with
Brian Heap, his dramatic cohorts in the University Players and choroegraphers
Shelly Anne Maxwell and Neila Ebanks, karl Williams has crafted a visual statement,
both manifesto and documentary, on today’s Jamaica, a place where overt class prejudices
and latent colour prejudices (sometimes they’re overt too) coalesce and bubble over in
an intriguing but piquant stew.
No topic is sacred or off-limits: race, religion, sexuality, even the Jamaican
preoccupation with team sports are skewered with gusto and panache, the language
combining grit, wit and forthrightness in near equal measure but never veering into
vulgarity.
The cast was excellent as a whole, but on the night this writer viewed the play,
the women were in ascendancy. Monique Caesar showed consummate skill in her monologue
of a black Jamaican young woman about to marry a white man. He variations in modulation
and her timing in "fixing up" for the nuptials were a treat to watch. Nadia Khan riffed
eloquently on racial ambivalence, trying to decide what racial box to tick on her
immigration form while awaiting a flight to New York.
Neither of those were as compelling however, as Nadean Rawlins’ sublimely venemous
Church Lady, heaping condemnation and epithets on an unseen Afro-centric "church sister"
amid choruses of "hallelujah" and "preach brother" her underlying mercenary motives
(the sister in question does not patronize her clothing and hair store). Whipping her
fan open and closed to punctuate her seething diatribes.
The men held their own, especially Jerry Benzwick as the "girls man" with a twist in
"I Do Women" and Peter Parkinson as a game show host(squinting and shifting his weight
from one leg to the other in mock concentration) in which the participants shuffle giant
letters to spell out racial double-entendres. A taped vox pop with persons from different
walks of life giving their thoughts on the term ghetto yielded some interesting and
humourous perspectives but could have been trimmed a bit. Choereographers Maxwell and
Ebanks kept the cast collectively light on its feet and in near perfect time.
The Black That I Am is more experimental in its sensibilities than the majority of
local theatre offerings but it offers lot ,both in terms of form and content to
theatregoers of all stripes and is deserving of a wider audience.
Wine And Roses [A Gentleman’s Hand]
Written by David Tulloch
Directed by Michael Nicholson
Cast: David Tulloch, Totlyn Oliver, Paul Skeen, Marguerite Newland,
Courtney Wilson, Sandra Knight
Little Little Theatre
Adapted from a previous radio presentation by current cast member Totlyn Oliver,
the one-act drama Wine & Roses begins on the familiar premise of a younger man-
older woman relationship.
Tulloch’s script however, proceeds to add a variety of complications to this rubric.
The woman in question is married (her husband is away but set to return); the young man
is coping with the absence of his father and his mother’s near-smothering attention,
as well as that of a girl his own age (Knight). Class and social issues are thrown
into the mix as well, largely in the form of the young man’s friend, a mechanic and
prototype of the inner-city Lothario. Through the characters, the author also makes
comments about the gun culture, the place of the church in modern society and contemporary
music (read dancehall) in contrast to "vintage" .
The functional set is split between the homes of the two main characters, with the
action alternating almost equally between the two. Tulloch and Director Nicholson
go easy on the audience with mostly short scenes and no distinct monologues. The
action builds steadily towards a somewhat implausible yet entertaining resolution.
Both leads are hampered, albeit minimally, by voice tones that tend toward deadpan,
but their mannerism make the age gap manifest. Wilson, as Deeko, the "mechanic" can
hardly tame the urge to overact, but comes into his own in a fine segment opposite
Newland, who hits the emotional marks of her character with little apparent effort.
Paul Skeen, as the husband, is in similarly good form, eliciting scorn, pity,
antipathy and admiration from the audience with similar ease.
Wine and Roses will leave a pleasant taste on the palates of those seeking a
refreshing, well-balanced evening of theatre.
Wednesday, May 25, 2005
Arts round up
ARTS ROUND UP
Grosvenor Galleries renews its seasonal outreach activities
for children with a Summer Art & Craft for Kids programme.
The 2005 programme commences on July 4th, and runs through
July 15. It resumes July 18 and continues through July 29.
In August, the art camp runs from August 9th through 19th and
from August 22nd through to the close on September 2.
“What we aim for” says proprietor Douglas Reid “is to give kids
the opportunity to explore their creative sides and experiment with
a wide variety of materials. They'll come home with finished works
of art ready to display, wear and use.”
The activities will include painting, creating and decorating
ceramic bear banks, canvas pillows, hanging beaded stars, glass
vases, memory boxes, neon pencil cases, glazed wall tiles, rainbow
foam fish, wooden windchimes, driftwood and shell hangers, tie-dyed
t-shirts, clay, beadwork, waterplay and more.
Sessions run from 9 a.m. - 12.30p.m. Mondays through Fridays and are
primarily aimed at children ages 4 through 12 years.
Remembering Carl
“He’s kind of like a mountain, there are so many perspectives
from which his work can be viewed,” offered National Gallery
executive director Johnathan Greenland.
The mountain he refers to is the late Carl Abrahams, who is the
subject of a special tribute at the NG beginning May 29. A wide
variety of works from Abrahams’ vast oeuvre will be presented,
including illustrations, portraits, sketches and recreations of
Bible scenes.
“His work is very approachable yet very expressive and honest,”
Greenland continues, “and I think this will be an ideal show for
children and for families.”
Also on display will be Abrahams’ frames, which he made himself
and many of which are works of art in themselves.
Broadcaster Anthony Abrahams (the artist’s nephew) and his daughter,
columnist Tara Abrahams-Clivio will be among those offering their
personal recollections of the artist.
Painter and National Gallery Chairman Emeritus Dr. David Boxer will
also offer their perspectives on Abrahams’ work and life.
Gallery Pegasus
At the Pegasus, Portland-born Jeffrey Grant’s solo show, Expressions and
Symbols, continues. the show combines paintings and sculptures in both wood
and metal, featuring Grant’s mordant wit and social commentary.
Art View: J’cans need to look more closley at African-American market
As Jamaican art continues to expand beyond its established markets,
one Jamaican painter is urging consideration of African-Americans and
Jamaicans abroad.
“Increasing education levels, as well as increasing overall incomes
among African-Americans is driving greater interest in art,” says
Joshua Higgins.
“We should also be mindful of the large Jamaican and Caribbean community
in North America as well as the UK.”
Higgins said Jamaican artists should make adequate preparations to exploit
this market, including placing their portfolios online and having reproductions
available in addition to original pieces.
Artists, he offered, should also look to representing themes in works, in
order to reach overseas collectors with a variety of special interests.
Afro-American collectors increasingly want more detailed information on
artists, particularly those from overseas. “They’re looking to get a sense
of how long this indivdual has been an artist, the kind of wrok they’ve done
and who has acquired the work,” Higgins pointed out.
he furhter feels that “Now is the time to introduce the Caribbean experience
to Afro-American collectors. The market is open enough and sophisticated enough
for an appreciation of our multi-cultural story.”
Higgins pauses to recognize the energy and encouragement of all the galleries
that have provided a forum and visibility for Jamaican artists over the years,
and he furhter welcomes the most recent addition,Gallerie 128 and the entrepreneurial
spirit of Simon Fredericks.
The painter views Jamaican art as a strong an enduring category that
has expanded beyond a specific market of home and office decor. As more
works of quality and diverse styles come to the market, he adds more of
the artists will be seeking to capture public attention.
Grosvenor Galleries renews its seasonal outreach activities
for children with a Summer Art & Craft for Kids programme.
The 2005 programme commences on July 4th, and runs through
July 15. It resumes July 18 and continues through July 29.
In August, the art camp runs from August 9th through 19th and
from August 22nd through to the close on September 2.
“What we aim for” says proprietor Douglas Reid “is to give kids
the opportunity to explore their creative sides and experiment with
a wide variety of materials. They'll come home with finished works
of art ready to display, wear and use.”
The activities will include painting, creating and decorating
ceramic bear banks, canvas pillows, hanging beaded stars, glass
vases, memory boxes, neon pencil cases, glazed wall tiles, rainbow
foam fish, wooden windchimes, driftwood and shell hangers, tie-dyed
t-shirts, clay, beadwork, waterplay and more.
Sessions run from 9 a.m. - 12.30p.m. Mondays through Fridays and are
primarily aimed at children ages 4 through 12 years.
Remembering Carl
“He’s kind of like a mountain, there are so many perspectives
from which his work can be viewed,” offered National Gallery
executive director Johnathan Greenland.
The mountain he refers to is the late Carl Abrahams, who is the
subject of a special tribute at the NG beginning May 29. A wide
variety of works from Abrahams’ vast oeuvre will be presented,
including illustrations, portraits, sketches and recreations of
Bible scenes.
“His work is very approachable yet very expressive and honest,”
Greenland continues, “and I think this will be an ideal show for
children and for families.”
Also on display will be Abrahams’ frames, which he made himself
and many of which are works of art in themselves.
Broadcaster Anthony Abrahams (the artist’s nephew) and his daughter,
columnist Tara Abrahams-Clivio will be among those offering their
personal recollections of the artist.
Painter and National Gallery Chairman Emeritus Dr. David Boxer will
also offer their perspectives on Abrahams’ work and life.
Gallery Pegasus
At the Pegasus, Portland-born Jeffrey Grant’s solo show, Expressions and
Symbols, continues. the show combines paintings and sculptures in both wood
and metal, featuring Grant’s mordant wit and social commentary.
Art View: J’cans need to look more closley at African-American market
As Jamaican art continues to expand beyond its established markets,
one Jamaican painter is urging consideration of African-Americans and
Jamaicans abroad.
“Increasing education levels, as well as increasing overall incomes
among African-Americans is driving greater interest in art,” says
Joshua Higgins.
“We should also be mindful of the large Jamaican and Caribbean community
in North America as well as the UK.”
Higgins said Jamaican artists should make adequate preparations to exploit
this market, including placing their portfolios online and having reproductions
available in addition to original pieces.
Artists, he offered, should also look to representing themes in works, in
order to reach overseas collectors with a variety of special interests.
Afro-American collectors increasingly want more detailed information on
artists, particularly those from overseas. “They’re looking to get a sense
of how long this indivdual has been an artist, the kind of wrok they’ve done
and who has acquired the work,” Higgins pointed out.
he furhter feels that “Now is the time to introduce the Caribbean experience
to Afro-American collectors. The market is open enough and sophisticated enough
for an appreciation of our multi-cultural story.”
Higgins pauses to recognize the energy and encouragement of all the galleries
that have provided a forum and visibility for Jamaican artists over the years,
and he furhter welcomes the most recent addition,Gallerie 128 and the entrepreneurial
spirit of Simon Fredericks.
The painter views Jamaican art as a strong an enduring category that
has expanded beyond a specific market of home and office decor. As more
works of quality and diverse styles come to the market, he adds more of
the artists will be seeking to capture public attention.
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