Adults called to account
From Page 14.
work needed to be done.
Damani Re’s City Lights and Below Zero, both spoken word pieces, surely pricked the collective conscience of the audiences.
The first looked at how a “poor black boy” left these sunny shores for a life in the cold climes of the United States in search of a better life, but discovered that nobody cared about him and his struggles.
The second delivered a message of encouragement and hope. In much the same vein as Cyndi Marshall’s To Those Who Complain About Brain Drain, it called adults to examine how they treated the youth and millennials, how they reacted and responded to their dreams and nullified their ambition. They left them cold and then wondered why.
Marshall’s spoken word piece was delivered better at the finals than the semis. She seemed more confident in her ability and message.
This was also evident with Irijah Alkins, who delivered in The Culprit and The Outlandish Mind. Stirring feelings of black consciousness, she raised some pertinent questions about selfacceptance in both pieces.
Akeem ChandlerPrescod’s Diary Of My Life focused on the different stages of his life – first in pencil because he was cautious, and later in pen after he got very involved.
It could be classified as an accurate depiction of the changing scenes of life.
This could also be said for Alister Alexander’s Six Sixes, the tribute to National Hero Sir Garfield Sobers.
It not only contained historic accounts of cricketing exploits, but the performer juxtaposed them with the realities of life and encouraged hope and steadfastness.
Anna Lisa Thomas’ Mi Shoulda Lef Di Phone gave a glimpse into how people readily accepted to be drug mules “for quick money”, while the Phoenix Performers’ Bajan version of the classic fairy tale Cinderella taught women that they should not rely on a man with money to help them through life. ( GBM)