The Cannibalism of Art - The Story of Basketry 101, University of the West Indies, circa 2010.

The Cannibalism of Art – The Story of Basketry 101.
Installed on The University of the West Indies, St. Augustine Campus,
Trinidad and Tobago circa 2010.

 

Project Title: UWI Sculptural Project.

Client: University of the West Indies, St Augustine Campus.
Project Convener: Dean Arlen.
Participating Artist: Edward Bowen, Shastri Maharaj, Che Lovelace, Susan Dayal, Paul Kain, Dean Arlen and Lesly Ann Noel.
Circa: 2006-2010

BASKETRY 101, INSTALLED 2010.

I write this, 7 years and 3 years post the installation of Basketry 101 on the campus. A sculpture sits beaten, rusted and worn. The sculpture’s situation is a reflection of failure, failure of our people, to place systems within The University of the West Indies to protect this acquisition. It presents the dysfunction of people within that institution to take care of one of its own artistic production. Basketry 101, has been abandoned, why? What makes people who belong to an institution whose remit is the pursuit of knowledge and intellectual development disregard this very remit? The University of West Indies is a noble institution that has included intellectuals like Lloyd Best - Economics, Prof. Julien Kenny – Life Sciences and Environmental Studies, Prof. Rex Nettleford – Dance, Prof. Kamau Brathwaite – Literature, Prof. Bridget Brereton – History, Prof. Patricia Mohammed – Gender and Cultural Studies etc. Its halls are filled with ideas, concepts and contributions to the idea of humanity. What has happened, flies in the face of this noble pursuit in studio scientiae. What has happened; what is happening tells a story of the wider society, small things leads to bigger problems. Artists complain constantly about this uncaring system that beats into us, yet we fail to put a voice to the things that we care about, our own vocation.   



THE PRESENT TENSE.

Where can the change come from? Basketry 101 was installed through the commitment of people who cared about art, they weren’t artists, they belonged to The University of the West Indies not the Department of Creative and Festival Arts, DCFA, nor the Trinidad and Tobago Art Society, or any other cultural organization, they belonged to a group of people who wanted to see something happen, they supported an energy, an idea, a possibility,

in studio scientiae et ethicae illustratio

Even if this possibility came with the economic, intellectual and social biases that contemporary art exudes. Alas it happened, there was an installation of a major piece of sculpture onto the grounds of The University of the West Indies, by a notable designer who belonged to our community, who belonged to the University of West Indies, St Augustine Campus, and this was a revolution, a big step in the politics of aesthetics on the Campus. The sculpture, with its own critical analysis considering space and materiality, was installed with the silence of a knife through butter; you could have heard the pin drop. Not a sound from the Department of Creative and Festival Arts or The Office of the Principal. It was like it was all done under duress. Like there was a gun to their necks. There was a silent shunning of the work, the energy of it all seemed obscene.

 “non fuit consilium nostrum” -“It wasn’t our project”

POLICY  imparts empathy where there is an absence.

Policy directs the institution and in extension, people, to a more profound, humane behaviour towards the things that may not be considered important at that time.  The catch 22 to that is you need progressive people to direct and implement progressive policy.

BELOW ARE SOME RANDOM ACQUISITION POLICIES. THAT CAN GUIDE HOW WE MAINTAIN ART COLLECTIONS. THESE DOCUMENTS ARE NOT LONG. SIMPLE TO THE POINT.

UNIVERSITY OF HOUSTON www.uh.edu/af/docs/SWAAC/policy.pdf

University Museum of Art at Loyola University Chicago

http://www.luc.edu/luma/collections/collections_acquisition.html

 

 

UNIVERSITY OF SOUTH AUSTRALIA.

http://w3.unisa.edu.au/policies/policies/corporate/c25.asp

POLICIES ALSO GUIDE ACQUISITIONS AND DEACQUISITIONS OF ART WORKS

 

 

A 2^NDThought.

People, artistic people and the artist community portray a constant silence about the things that are important to us. Our ability to be inconsistent about the things that we do, to belong to a community yet be so self-involved that we become invisible to the imagination and growth of that community. We become irrelevant due to inertia, protesting only when it affects our bottom line.

 

Ibi semper est artifices vocem - There has always been an artists’ voice.

 

The voice of the artist’s has been there, will always be there.

 

But when a Pat Choo-Fun sculpture is painted over and another sculpture sits there rusting away, what does that really mean? For us? For the state, private sector, community?

 

Where can stimulation come from? Post-NAPA, has proven that the relationship with power has become more hostile, confusing and desperate, even while the state has acknowledged the potential benefits of the arts to the society and for the first time moving to harness its magical powers through the creation of a company that will harvest this magic. There is still an acknowledged hostile approach to negotiation with the arts sector, due to the fact that we have been a passive negotiator in the politics of cultural thought and praxis. Will articulation come from…

The Art Society is an organization with a well developed structure, membership and community and political weight. But for some reason it has not been able to engage the imagination of the political executive and the wider community, due to their in-articulation of the art language, philosophy and critical analysis of endeavours.

The Artists Coalition of Trinidad and Tobago, ACTT – in its short history has placed the arts on the table of national development and in the imagination of people. ACTT, has taken real cuff and pain and has taken on the fight, have been offered gifts and positions, an acknowledgement of persistence to power, in the discourse of cultural shaping. The primitive conceptualization of our cultural politics has set the course for an incorrect relation with the arts and their contribution to our evolving culture. This will only be challenged by the natural unravelling of our current social and economic reality, the current tense situation. The politics is hard and entrenched, behaviours violent, ignorance is applied, arrogance applauded. The future of ACTT will lie in it morphing into an independent Arts Council, starting on its own terms but which will eventually be supported by state but on their own terms.   

 The Trinidad and Tobago Film Company – has managed to explode onto our space a different language of plasticity, poetics of movement, re-represented industry and technology to a new and old generation of industrialist, a possibility of representation. But we have seen them come under fire from the state and have held them at bay; the state has rethought its position and formed another company that will confront the TTFC.

The Trinidad and Tobago Film Festival has presented art to the community, and has sparked their imagination of the possibilities of indigenous representation and diversification.

The University of West Indies, Film programme (which will be moving into their own building); the Animation programme at University of Trinidad and Tobago, UTT, and the Animae Caribe Festival is another powerful story that has highlighted the fractured relationship between the state and the academic art community, as this has come under fire for being acquired under duress.

We have seen film come in and take centre stage in the development discourse, while the plastic arts have continue to be marginal, in the corner, to be given only paltry concern, the mad child that you hide in the room chained to the bed post. Film’s monumentality in the imagination of people and in the politics of Trinidad and Tobago, rests on the shoulders of the people who have laboured in Banyan, Gayelle, the Trinidad and Tobago Film Company and The University of the West Indies, Film Programme.

Imaginatio populum ædíficant- People build Imagination

It jus doh fall from a breadfruit tree, Buu-Dooop. We have to build things, engage with the institutions that you belong to.

The failure of Basketry 101 is the failure of the plastic artists to coalesce activities that build imagination within people that makes people want to be involved with you, invest, even try to intervene and therefore have you on your toes to defend our imagination.

 

To build imagination means that artists need to collaborate within the institutions to which they belong. Start talking to departments; organize co-operative collaborations and agreements of understanding with industry, other professionals and organizations that can place the artists and their work within the larger conceptual framework of institutional and national development.

ARTISTS NEED TO CARE.

 iungere circuli- join the circle.

 

THE ARTIST PROPOSALS

  

SUSAN DAYAL

DEAN ARLEN

PAUL KAIN

EDWARD BOWEN

 


SHASTRI MAHARAJ

     

 

 

 

 

Dean Arlen

July 19 2013.

Art, Architecture in Land - Finding Nemo, Modernity of Survivalism in a kras Political Conversation

 

 

 

ART, ARCHITECTURE IN LAND

FINDING NEMO.

THE MODERNITY OF SURVIVALISM IN A KRAS POLITICAL CONVERSATION.

STORY OF A FIRST TIME FARMER.

 

Shack Project - Site.

 

How can working in the land re-imagine both the physical and mental form? A deep personal philosophical equation, complicated by a dysfunctional socio-political situations, a question that I have been in contemplation, ever more intently since I have be dealing with a land project, steep in the ridges of the Northern Range of Trinidad, It wasn’t soon enough that I found out that re-imagining a space had a certain amount of commitment, failure, disappointment, knowledge transference, physicality and learning to happen. I quickly gained respect for the women and men who commit their lives to the pursuit in cultivation, living in quite, polite understanding of the land, while at the same time monetizing, profiting from their physical sweat, muscle intelligence, knowledge transference, human kind and nature working in a balance to sustain, to live in the simplicity of comfort that country is.

I have met the farmer who uses the chemicals; I have met the farmer who doesn’t. There are organic chemicals that work in balance with the land and there are those that don’t. I sat in a farmer’s meeting with a chemical company representative. I asked about their organic chemicals and why aren’t they recommending that farmers use organics...I didn’t get much response.

I have used chemicals to tame, to clear out the wild that overwhelms space so quickly, I learned that I must by my hand kill to re-plant new seed, a new vision must come at the felling of trees, clearing site lines and replanting in the site new seeds, hardy seeds, soft seeds that need presence and continuity. I have also learnt that there is no such thing as the unwanted, they are there and their purpose is there for a certain amount of bio diversity, for the crickets, for the ants, to get rid of them means that they will feed off you. There must be a wild corridor within the tame; I will have to learn to balance that in the design of the vision.

The vision must be soft in its implementation, care must be given in interpreting ideas, and thought must be shared with others who vision fits with yours. All farmers or people of the land, are not caring custodians to the land, their knowledge is skewed, flawed and out dated.

 

To you left is the open area, there will be doors(9ft.). An open balcony kitchen, a loft that will hold a simple arrangement for several people (hammocks).
Ground level will be able to store and act as a chill spot, hammock limming.

 

I DISLIKE SQUATTING

I have come to dislike squatting, but I have also come to understand the historical, political and social position of why squatters lifestyle is so well endowed in the way this society has been configurated. My neighbour’s story, of not one but two squatters on either side of his land each taking half an acre. Both were told by the then political representative at the time (PNM) to stay on the land even when the state authorities told them to vacate, only to retract (said statement) when in the realization that they both were breaking the law. There are so many of them like zombies, roaming the space, to hatch tents at moment of vaps to spring up a corrugated house, of found materials and an assortment of bought hardware products. Dey jus take yuh land, with a real seriousness of you lossing your land to them, nah, dat cant work. Why we must call for them to get that land policy up and presented for comments. But the Spatial Consultation, held by Ministry of Planning, is a good start. Lets hear more.

Detail of loft area.

 

LABOUR

“Dem fellas grow in de bush, buh dey not of de bush” my neighbour told me about the labour I had, but had to part ways. At $200 a task which was most likely 3-4 hours of work, Marvin my helper was of little help, there was no motivation, a task would create more nuisances, a fell tree would block up several paths through the land. It is hard to understand why a young man who has grown up in the land can’t manage the land in the simplicity as it takes for them to run up in the deep forest to hunt, or to light a cigarette while clearing the land, machete held in the right hand, their poetry of balance they have acquired walking this mountainous terrain, it’s admirable. But in there somewhere there is a deep seethed laziness, carelessness to knowledge, an arrogance and ignorance derived from a political modernity, a break down in the transference of inter-generational knowledge, a break down in the implementation modern values.

I also remember a story of an agriculturist, who mentioned as he passed through the village, stating “this is a lazy village!”, how does a man say such a thing, make these conclusions, what signals does he see, witnesses, that will make him come to those conclusions. I have been around there for a while and I will have to say the man was right, but I will have to be fair to the people. This laziness has a political nature to it.

 

DREAMING  THROUGH LAZINESS

How do you keep dreaming in a space that is lazy and harsh. In my interaction with the land I try to interact with it ever other day, at 3 hour task time allotted to that day. But when things are tight I find myself going up on Sundays, with 3 hours task time. With that in mind I have been able to maintain a certain acreage, I will say about 2 acres, this to my amazement the guy who we had couldn’t do. So to maximize time and labour I came to the realization of the Shack Project, which I hope will intensify the time I spend in the land, 3 in the morning, 3 in the pm, sleep, wake in the a.m another 3 hours and another 3 in the afternoon, that should be 12 hours in two days. That is allot of time, you know what can be done in 3 hours, farless 12.

The idea or concept of the individual working through their full competences through task management, will develop a knowledge base that must be complemented with science and obeah, intellectualism and sometimes guts.

 

The brim of the house is low as to allow a certain amount of outdoor living.
people will have to live on the balcony.
This shows the studio area(the will be a wrought iron gate between the two black lines), kitchen to the right, steps to the left,

THE SHACK PROJECT .

The design is about the tradition, the history, and memory. Influenced by my Amerindian past I have developed the idea as a construct to the outdoors, as most of the living will be done on the outside of the rooms and on the 308 balcony, where all the kitchen dinning will take place. The shack is modular, can be built off site, brought to the site and installed, in my observation, the only commitment will be the foundation where we will have to pour cement, form there we will lock in and hook, lock in and hook.

So there is the costing, talking to the contractors, understanding the land situation (there is a landslip on the road).

But what is interesting is the off the grid design, there are no utilities there and there is the serious consideration of

1.   Developing cisterns.

2.   Light.

3.   Solar energy,

4.   lamp,

5.   Harvesting spring water,

6.   Developing cisterns,

7.   Rain water harvesting,

8.   Developing a filtering system for shower, kitchen and sewer.

All these mechanism will have to be creatively considered and engineered into the design cost, for present installation and future upgrades. As a modular design the intention isn’t only about present, but it is about upgrading as we grow, which is a very Caribbean way of development. But that intention is placed into the DNA of the design at inception.

 

Loft to the left, which will face North.

THE DREAM.
Can farming maintain the dream of the farmer, their ambitions. Here in the mountains valleys of the Northern Range, the village is semi rural, as most of the residence have a job not related to the land, they commute every morning to the flats (urban centres) to their respective jobs. There seem to be migration into the village and there is the selling and the buying of land, by people who do not live in the area. So there is this distant connection to the land, a manner of long understanding, but a tiredness that makes men and women move away from a consistency. But as I sit here there are the cocoa, the cressels, the plantain, the breadfruit, and fruits. There are the women and men carrying out the work, one guy left his job to raise cristofine full time.

But I wonder, as the project starts the realism of farming, or is it better to develop art-farming. Develop a space that will be able to invoke the principals of farming while enjoying the principals of creative research and development. I like that idea, I will like to see something in the village that will allow them to imagine just a little more. Just a little is so much, just a twist in the degree of how we see and pursue the things that we love can make so much difference in how we experience our lives.

 

Detail of the loft.

As I sat with my village friend as we do after a early morning task, in his garage we speak of life, on that day we talked about the village of Trinidad and Tobago. I’m at the firm believe that we will not be able move forward if we don’t confront our dark psychological past and present. We have to acknowledge that we’re a damaged people, to move forward in this is to embrace this, speak of it, print it... then we will feel something very cathartic happening in the village. But this isn’t as easy as we think, we’re comfortable in our sin.        

I will be going up with Shivo to look at the road. Hear what he has to say about cutting the road, which will make this project a little more plausible.

Well, when thhis thing happens. We will do a jam session in the Heights.

 

keep Posted

CARNIVAL 2013 - February 6-7th - A Pedestrian View of the Circularity of Carnival Trinidad and Tobago, the Caribbean

Carnival 2013.

A Pedestrian View of the Circularity of Trinidad and Tobago Carnival, Port of Spain, February Tuesday 7th. Flagstaff to Port of Spain and back.

We left, Flagstaff at 1pm,
Starting down, Long Circular Road, where I met a set of murals, I will have to guess this was the mural project that the Regional Corporation did through out Trinidad and Tobago, in communities. Looking at them, I remember the discussion I had with Ms. Khadijah Ameen, Chairperson/Councillor, Tunapuna Regional Corporation. When she mentioned the project, that they will have to look at how they prepare the space for such an activity.

How you prepare a space and how the work in curated, can make a substantial difference in presentation. The young people that participated in the project would have benefited further, if this was done. I'm not saying that they didn't benefits.

There was and is some really wonderful expressions in the project. Making you want to stop and look at the what our people want to say. Its there. But once again the idea of placing art in schools or the creative education model comes up once again. I was told that there will be an architect that will be hired to work in the engineering department at The University of the West Indies, UWI. Opening the avenue for a design programme or school of architecture that could come out of the engineering department. Something interesting for what the space can look like at the end of the day. Or the other story to this is the arrogance that engineers already have, they will become more arrogant and feel that they are designers, becoming architects/designers, becoming all things to the state.

We reached Queens Royal College, QRC. the streets where empty. I wasn't feeling the frenzy of carnival that was there in 2012. When we were coming the people the energy was somewhat simple. OK lets get to the Savannah, maybe things will look up.

One thing was there, Dem fellas, the security, the rope men. Adorned in their yellow, dey boots, dey gloves. This extra
The paramilitary rope group.
Gangs of them, pulling plenty yellow rope to hold back their own. This has to be the one of the most of interesting phenomenas in modern carnival. The interesting twist to this is the black body is willing to extricate themselves from other black bodies. This class relations has to do with a lack of the middle class bottom being unable to negotiate the terrain the once played and big part of. being from the fields themselves and being able to move from there the bottom of the middle class has lost its ability to wine, to speak, to vacillate between men eyes and tongues. This lost for words have left nothing short, but to place security between the bottom and community.
BLACK HESITATION

sO the walk continued to the Savannah. Seeing the family, the horde of people sits with their friends, enjoying the coconuts, their home cooked meals, young teenagers enjoying their parents organizations. there in the dust of the Savannah the regulars sat. polite to witness the carnival, full in the knowledge that they are equipped with the rum, the food, the wine, and the friends.

 AROUND BP BUILDING 

WE STOOPED

  AT A FRIEND,

FOR FOOD

 DRINK.

THE AREA WAS PACKED THE ENERGY OF THE PEOPLE

WERE PRESENT ON THE STREET.

COMMERCE WAS ALIVE HERE.

CHINEE

WAS AROUND HERE

he from Santa Cruz.

The craft area was moved the area that it was usually and moved to the front facing the strip. There was a nice avenue happening, formed on dust, this dry season will bring fort pest and tired eyes.





THE CRAFT SHOP AREA



THE AVENUE OF CRAFT SHOPS.
 

THE MEMORIAL SQUARE.

HERE WE MET UP WITH THE BANDS,

WE SAW,

WE NEGOTIATED,

THROUGH THE CROWD TO START HEADING SOUTH TO CHARLOTTE STREET.



When I saw this.
THIS WAS REPRESENTATIVE OF
ORIGINAL AESTHETICS,
FORM,
ATTITUDE.

WALKING DOWN CHARLOTTE STREET
FOR THE FIRST TIME IN A LONG TIME
I FELT THE ORIGINAL PEOPLE,
ORIGINAL ENERGY,
ORIGINAL MASS,

ALTHOUGH THEY HAD TO TURN DOWN THERE MUSIC WHILE PASSING THE HOSPITAL.

i SAW FOR LITTLE TIME.

PEOPLE IN CARNIVAL.
NOT THE
TRIBE,
THE LEGACY,
THE HART...

 

 

HELL YARD

 

YO!

THE DRUM,
THE ENGINE ROOM,
THE RHYTHM SECTION.

WE NEED TO GET PAN BACK INTO CARNIVAL
ON THE STREET.

WE WILL HAVE TO LEGISLATE
DAT!

NEGOTIATING THE SPACE BETWEEN THE MASS AND THE VENDOR
WAS AN INTERESTING SKILL THAT IS NEEDED IN THE PEDESTRIAN.
JUMPING FROM STREET TO PAVEMENT TO STREET,
WHILE AT THE SAME TIME EATING AH BAKE AND SHARK TAKES SPECIAL TRAINING, THAT COMES FROM A DIPLOMA AT THE SCHOOL OF PEDESTRIAN ISM...

WE WILL HAVE TO LOOK AT HE DESIGN OF VENDORS THAT WILL ALLOW FOR A CERTAIN AMOUNT OF SPACE THAT WILL EXIST BETWEEN THE ROPE AND THE VENDOR.

PLUS THE CARNIVAL BAND CANT TAKE UP THE WHOLE STREET.
WHA DE F*&K WITHDAT

DE PHI PAN

DE VENDOR.
AS DESIGNERS
LET WE DESIGN SOME VENDOR
STALLS FOR DE NCC.

YO ALLISON!
LET WE GET DESIGN IN CARNIVAL.

WALKING ALONG THE STREETS,
ITS SOLITUDE WAS SWEET,
FOR A MOMENT I FELT THE TREMBLE OF MY SENSES,
THOUGHTS OF DARKNESS,
LONELINESS OF THE STREETS,  
WHERE A MAN CAN MEET HIS MAKER,
THE HISTORY OF THE STREETS,
BRINGS PRIDE,
THE HOSTILITY OF SPACE,
THAT CAN MAKE YOU CRY.

WHEN SUDDENLY A SMALL BAND OF MERRY PEOPLE,
TOTING MUSIC ON THEIR BACKS.
THEIR BELLY FULL,
THEIR JOURNEY SOLID,
AHEAD,
I LEAVE THEM AS THEY MOVE TOWARDS THE BRIDGE.
THE SAILORS LAUGH,
THEIR BOTTOM KNOW THE ROAD. 

AH LOVE DIS
THE DESIGN THAT JUMPS OUT AT YOU.

I HAVE SEEN THIS WHEEL PUSH MECHANISM THAT IS BEING USED TO HOLD UP THE FLAG.
PEOPLE ARE STILL THERE TO CARRY IT.

ONE WAS BROKEN AND DE BANNER MAN WAS CREATING HIS
OWN LITTLE DRAMA COMING UP WITH WAYS TO MOVE
THE BANNER.


THE SAILOR BAND
 FROM BELMONT.

LOVE THIS BAND,
JUST LOVE THIS BAND

LOOKING

AT THIS BAND I WENT BACK TO ART SCHOOL

WHERE I TRIED TO MOBILIZE CHILDREN TOYS IN AN INSTALLATION.

WHAT I SAW IN THE BELMONT BAND

WAS A PLAYFUL USE OF IMAGINATION ON THE EVERYDAY CONSUMER TOY OBJECT 

(U.S. PRODUCT VIA CHINA). DECONSTRUCTING THEIR POWER OF DISILLUSIONMENT, THEIR DISTORTIONS OF DREAMS.

RE-EMPOWERING THE IMAGINATION OF PEOPLE WHO MAY FEEL POWER-LESS.

 

DIS IS CARNIVAL 

 

 

 

DEY SAY HE GOING TO

RIO.

 

WELL WHAT CAN I SAY BUT GOOD BYE,

 

THE BAND LOOK SWEET.

BUT AH MAN,

 WHO WHOLE IMAGINATION ARSENAL WAS BASED, CARVED OUT OF THE BACK OF ANOTHER MAN.

CANT BE CRITICAL ABOUT THE EMPTINESS OF CARNIVAL.

 

 DEAR,

 BRIAN MC FARLAN,

SWEET WORDS,

FILLED IN WITH COLOUR,

BEAUTIFUL BODIES,

CRAFTED BY NIBBLE HANDS...

TRACED.

YOUR VOICE,

 A SIMPLE VERSION,

A MUTTERING ECHO,

CAN ONLY BE APPLAUDED IN A CITY BROKEN,

FILLED WITH MEN OF STRAW,

FEEBLE MINDED,

THEY SOON FORGET.

IN THIS COUNTRY OF OLD MEN,

ODDER MEN DECEIVE ART.  

 

SHALL WE LEAVE THIS CITY,

NAH NOT YET.

I STILL MUST BURY MY

SWORD.

 

 



THE GARBAGE PICK UP WAS SEEN AROUND DOING ITS THING.



SO WAS THE POLICE.

GREEN CORNER.
I REMEMBER HERE WAS A ROUGH SPOT.
IT MUST HAVE BEEN AROUND HERE THAT MAY HAVE STARTED THE ROPE THING.
DEM FELLAS WAS BRUTAL ON THE BOTTOM.
THERE WHERE TWO SPACES THAT HAD A REPUTATION WITH THE GANGSTA OR WILD MEN.
GREEN CORNER
AND
PRINCESS BUILDING GROUNDS (NAPA).

THINGS CHANGE?

DESIGN DREAD!

DESIGN BOY.

 

I MET MR. WITH HIS HOME MADE BOTTLE

CARRIER AND WOW!

 

THIS IS WHAT i TALKING ABOUT

THIS IS CARNIVAL!

 



HE MENTIONED THAT I GUY PAID HIM SOME MONEY TO TAKE A RIDE.

 

THIS WAS SO COOL TO SEE.

IT MADE MY DAY.

I GET HOPE FOR ME AND THE NATION WHEN I SEE THIS.

 

PEOPLE HAVE POWER.

TO BUILD,

ORGANIZE,

THEIR OWN ECONOMICS.

 

 

I HAS A CONVERSATION WITH A PERSON FROM SPAIN.

SHE MENTIONED THAT A CHILEAN FOUND THAT OUR CARNIVAL IS STILL RESERVED. THAT THE LEVEL OF LOVE MAKING AND DRUNKERDNESS WOULD BE MUCH MORE EXCESSIVE IN THEIR COUNTRY.

 

I MENTIONED THAT CARNIVAL STILL HAVE THE CARNIVAL BABIES AND IS FILLED WITH DUBIOUS BEHAVIOUR.

WE MUST ALL RECOGNIZE THAT CARNIVAL IS FILLED WITH HOMES ARE TURNED INTO TEMPORARY MASS CAMP, FROM WORK PEOPLE SLAP ON ANOTHER CAP TO HUSTLE OUTSIDE THE FETE, THE CALYPSO TENTS, TRANSPORT,

PLAY PAN, MAKE PAN, STITCH CLOTH, MIX DRINKS,

PLAY MUSIC.

DIS IS AH HUSTLE SEASON.

AH COULD STILL HEAR DE MAN TELLING HE PADDNER

 

"MAN, AH CYAH TAKE TIME FOR YOU NOW, IT GO TAKE AWAY TIME FROM MEH HUSTLE" 

 

DIS WAS IN THE PANORAMA FINALS.

 

 

ARIPITA AVE.

 

 



 

 

STERLING. THE LOST MAS MAN.

THIS WAS ONE OF THE FEW LIVE BANDS I SAW
WE HAVE TO ALSO DEAL WITH THAT.
IT JUST CANT BE ONLY
DJ'S
ON THE STREET. 

 

ARIPITA AVE.

 

 



DE INDIAN BAND
THE TING WITH DE SMALL BAND AND DEM,
IS YOU FALL OVER DEM.
LIKE YOU EH, EH!
LOOK AH ROBBER BAND,
LOOK AH INDIAN BAND,
LOOK DE BLUE DEVIL,
TAP TAP
AH MOKKO JUMBIE BAND!

 

IT WAS SIX O'CLOCK

WHEN WE REACHED

ROXY ROUND ABOUT.

SO WE SAT AND

WAITED FOR THE REST OF THE POSSE TO REACH US. 

 

WE FOUND A NICE SPOT OPPOSITE THE ONE WOODBROOK PLACE AND WE WAITED.

WHAT I FOUND WHILE WE WAITED AT THE BUS STOP.

WAS THE HARSHNESS IN DESIGN,

THE ARROGANCE OF THE CORPORATE BUSINESS IN URBAN PLANNING AND THE LACK OF INTELLIGENCE IN DESIGN.

THE BUS STOPS DESIGN.

 

WE HAVE ALL SEEN THESE DESIGN AROUND THE CITY AND IN THEY OFFER A TIME TO SIT AND CATCH ONES SELF, WAIT FOR A FRIEND, WAIT FOR SOME TRANSPORT.

BMOBILE

AND

DIGICEL

ARE THE PERPETRATORS OF THIS CRIME.



 

AS YOU SIT THERE IS A GOOD VIEW OF PEOPLE YOU'RE COMFY AND SHELTERED.

BUT THERE IS SOMETHING SINISTER THAT IS HAPPENING.

 

 

THIS SINISTER NATURE LIES IN HOW THE DESIGN IMPEDES ON THE MOVEMENT OF PEOPLE.

AS BELOW AS A WOMAN PASSES, WHEN OTHER PERSON TRIES TO PASS BY.

SOMEONE HAS TO STEP INTO THE STREET.

IF THIS IS GOOD CORPORATE CITIZENSHIP,

OR

GOOD DESIGN MORALITY.

IT IS HERE THAT I UNDERSTAND WHERE WE'RE.

THIS IS THE ABSENCE OF CRITICAL THINKING IN

CITIZENSHIP.

IT REFLECTS THE NATURE OF OUR POLITICS.

COMMUNITIES,

ME,

YOU.

US.

 

 

WE DAM F*&KING CARELESS

ABOUT THE WAY WE

THINK.

WE HEAD HOME
7PM
WE REACHED HOME
9PM.
TRAFFIC.
WE LEFT OVER THE
LADYYOUNG ROAD,
UP THE PRIORITY BUS ROUTE,
BOOM HOME.

POST CARNIVAL