World-a-Reggae Posters at the National Gallery
IN 2012, for the first time in its almost 40-year history, the National Gallery of Jamaica hosted an exhibition of poster art: the top 100 entries from the first International Reggae Poster Contest. Six hundred and seventyeight designers from 80 countries submitted 1,142 posters! The lyrics of the Hotstepper, Ini Kamoze, were the inspiration for the exhibition’s theme: ‘World-a-reggae’.
It was a coup.
There were reservations about the elitist gallery descending to pop art. It is true that the Gallery has been hosting pop-culture events in its excellent ‘Last Sundays’ series. But, I suppose, a poster exhibition was not quite the same thing. I think the art was seen as ephemeral, just not up to the standard of the usual high-brow work exhibited in the Gallery.
Furthermore, this was to be an exhibition of reggae posters. And even though the Gallery is located in downtown Kingston where reggae music is rooted, that connection did not seem to make the prospect of a reggae poster exhibition any
more attractive. But good sense prevailed and the executive director at the time, Dr Veerle Poupeye, did agree to host the exhibition. It was a spectacular success.
STREET ART
The posters, judiciously hung by Dr David Boxer, were mounted in the inner galleries. This signalled acceptance of their legitimate place within the National Gallery. But their placement was, ironically, rather conventional. The posters had now been dubbed as upper case Art, however, reluctantly.
Last Sunday, there was a lively reception for another exhibition of reggae posters. This time, the location and layout are much more imaginative. The Gallery’s main hall is the inspired venue. Instead of being dispersed throughout the inner galleries, the posters are concentrated in a single space. The exhibition simulates the in-yourface immediacy and impact of street art.
The National Gallery exhibition mirrors the one held at the Montego Bay International Airport last November. There, the posters were mounted outdoors and attracted a huge audience. It might seem counter-intuitive to take art out of the gallery and into the streets. It is not. Enticing viewers to appreciate art in unusual locations might just make them want to visit a real-real gallery.
MICHAEL ‘FREESTYLEE’ THOMPSON
The International Reggae Poster Contest was conceived by Michael ‘Freestylee’ Thompson, a Jamaican digital poster artist, who called himself an ‘artist without borders’. He invited Maria Papaefstathiou, a brilliant Greek graphic designer, to collaborate on the project. Maria is now an honorary Jamaican. She has embraced our culture with passion. She came from Greece for just one day to attend the reception at the National Gallery!
For Michael, the contest was a platform to build awareness for his grand vision: the establishment of a world-class Reggae Hall of Fame Pavilion and performing arts centre in downtown Kingston.
Michael’s favourite architect is Frank Gehry, whose firm designed the Guggenheim Museum, Bilbao, Spain; the Walt Disney Concert Hall, Los Angeles; the Experience Music Project, Seattle; The Vitra Design Museum, Germany; and the Novartis campus, Switzerland. So why not Kingston, Jamaica? I can just see it.
On Kingston Harbour, the seventh-largest natural harbour in the world, with the majestic Blue Mountains as a monumental backdrop, a grand structure rises to affirm the indomitable spirit of the Jamaican people.
The Jamaica Music Museum on Water Lane simply does not do justice to Jamaica’s global brand.
Long before UNESCO designated reggae music as an “intangible cultural heritage of humanity”, Michael Thompson knew that reggae deserves a museum worthy of the global reach of Jamaican popular music. So why has it taken successive governments so long to recognise this fact? Is it because of the down-market origins of the music?
UNLIMITED POTENTIAL
Out of Kingston’s concrete jungle, riddims of resistance now reverberate across the world. Reggae and its wild child, dancehall, symbolise the unlimited potential of the creative industries that enable hard-working, talented people to create wealth out of intellectual property.
One of the primary missions of the International Reggae Poster Contest is to support the Alpha Boys’ School, which has produced so many legendary musicians: King Yellowman, Leroy ‘Horsemouth’ Wallace, Edward ‘Tan Tan’ Thornton, Dizzy Reece, Don Drummond, Tommy McCook, Johnny ‘Dizzy’ Moore, Lester Sterling, Leroy Smart, Cedric Brooks, and so many more.
The contest organisers have hosted several auctions of winning posters and the proceeds have all gone to the Alpha Boys’ School. They also introduced screen printing at the school. It all started with a poster designed by Michael which was screen-printed in Greece. That image became the school’s new logo and inspired students to take up screen printing. They now produce beautiful T-shirts that are sold online to raise funds for the school.
At the reception last Sunday, the Pimento Band gave a spicy performance covering a wide range of music: calypso, mento, ska, jazz, reggae. The band, a perfect complement to the exhibition, seduced the enthusiastic audience to dance. The not-to-be-missed poster exhibition is up until May 26. It has toured Cuba, Mexico, the United States, the United Kingdom, Greece, Poland, Spain and Cyprus. This 25th exhibition is a welcome return home.
Carolyn Cooper, PhD, is a specialist on culture and development. Email feedback to columns@gleanerjm.com and karokupa@gmail.com.