Explainations
Marcus Garvey
His Legacy
Garvey’s vision for black advancement universally found fertile ground in the next generation, many of whom matured as leaders and statesmen.
African leaders like Kwame N’Krumah of Ghana and Jomo Kenyatta of Tanzania, were influenced by Garvey in their formative years. Malcolm X and Shirley Chisholm were children of Garveyites and later became national figures in the USA.
Amy Bailey, a Jamaican social worker and teacher was influenced by the 20’s movement, becoming a Garveyite. Labour leaders- Adina Spencer and St. William Grant also lived Garvey’s influence. The Rastafarians embraced Pan-Africanism while adherents and cultural icons like Bob Marley and Burning Spear, Steel Pulse, Fredlocks, Culture and other musicians perpetuated the message, legacy and myths in popular culture.
Message to the Diaspora
Garvey’s early travels to Britain and the Central American countries sharpened his awareness of the fragmented, homeless status of Africans in the New World. He felt that the survival of the race could only be achieved if Africa was strengthened, politically, economically and militarily. Only then could she speak with a powerful voice for all her people in the Diaspora.
The UNIA which was structured like a mini nation state with its political and economic agendas, its military arm and its social and cultural divisions, took up the mantle for the redemption of Africa’s sons and daughters in the West. The Negro World the UNIA’s publication, enjoyed mass circulation as a singularly powerful instrument of politicization and education.
Harlem Years
When Garvey arrived in Harlem, New York in 1916 he found a dynamic environment where many new arrivals from the south, the Caribbean and elsewhere were reaching for a brighter future. Seeing the potential for expanding the base of the UNIA Garvey established his headquarters in this black metropolis, Harlem.
The UNIA grew rapidly and at its peak it had over 1200 divisions in 40 countries. Garvey was targeted as a trouble-maker and hounded by authorities who eventually charged him with mail fraud in 1925.
Jamaica Years
Garvey resided in Jamaica from 1927 – 1935. During this period he tried to keep the mission and spirit of the UNIA alive internationally from a local base, which was very limiting. However, Garvey stated that, “To fight for African redemption does not mean that we must give up our domestic fights for political justice and industrial rights”.
Garvey’s entry into the political arena was heralded by his 1929 electoral manifesto with its agenda for reforms in all spheres – economical, political, social and educational for the improvement of the working class. While the People’s Political Party, which he formed was thwarted by those who held the power to vote, his cultural and education programme at Edelweis Park enjoyed great success and became a noted bright spot in the life of the city.
When Garvey left Jamaica in 1935 for England his health and his political career were in decline. Europe and England were soon to be submerged in World War11. Garvey died in June 1940.
Chaining the Tiger
On Garvey’s conviction in 1925 the expression was heard that at last, “the tiger was chained”. To which Mr. Garvey replied, “... you have chained the tiger, but the cubs are loose”. Garvey was deported to Kingston in November 1927. As President General of the largest Pan-African Movement in the world, he received a tumultuous welcome from his people. They had followed his torturous trial and persecution. Their faith seemed unshaken.
On the other hand there were many that were not so jubilant at his return—the merchant and planter classes. They had recognized the threat that Garvey would pose with his exhortations to the black labouring class. The colonial government also saw him as a threat because he had linked the UNIA’s call for black nationalism and a free Africa with Ghandi’s anti-colonial struggle in India and the struggles in Ireland. Garvey had to be contained.
Women of the UNIA
Women played a prominent role in the organization of the UNIA. Both the positions of Lady President and Vice President were reserved for outstanding women. In the ranks women made up the Black Cross Nurses, African Motor Corp and juvenile divisions.
Amy Ashwood and Amy Jacques were married to Garvey at different times and both were deeply committed to developing the organization. Amy Jacques Garvey was responsible for preserving and publishing Garvey’s philosophy in Garvey and Garveyism, in three volumes.
Mother, Mother, Mother
2019 Dawn Scott Memorial Award
Presented to Judith Salmon - on the occasion of the showing of Mother, Mother, Mother 1, 11, 111, in the 2019 Summer Exhibition at the National Gallery of Jamaica, Kingston, Jamaica.
"For the unassuming, unaffected eloquence of her series of portraits, Mother, Mother,
Mother, I, II, III, showing a mother in quiet contemplation and evoking the dignity and
strength of a humble member of the human family, the 2019 Dawn Scott Memorial Award
goes to Judith Salmon."
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Mother, Mother, Mother - Holding the Dream 1, Monotype with mixed media
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Mother, Mother, Mother - Holding Freedom II, Monotype with mixed media
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Mother, Mother, Mother - Holding Loss III, Monotype with Mixed Media
Presented in honour and in memory of the Jamaican artist Alison Dawn Scott (1951 - 2010), whose multifaceted body of work encompassed drawing, painting, sculpture, architectural design and sophisticated batik fabric-dyeing techniques. Scott’s art often evoked timely social-cultural and political themes.
The Dawn Scott Memorial Award recognizes the creativity and originality of the artworks you exhibited in the 2019 Summer Exhibition, as well as aspects of your work that evoke the artistic and philosophical principles that distinguished Dawn Scott’s thinking, teaching, art-making and activism.
Those principles and values include proficiency and innovation in your handling of your materials, fresh ideas about the expressive power of art, and a sense of the courage in the way you address your chosen subject matter.
Presented by the art critic and art historian Edward M. Gomez on July 28, 2019, in Kingston, Jamaica.
Unmasking the Goddess
Linoleum print, 7 x 5" 1995
Created in response to a call for small work, this print was submitted to the exhibition Global Focus.
The exhibition was co-sponsored by the National Museum of Women in the Arts, Washington, DC for
presentation at the United Nations Conference on Women, Beijing, China, 1995. The objective was to
build cultural bridges through performative works, exhibitions, workshops and other events which highlighted issues of concern to women across the globe.
This small but powerful relief print depicts a mask which conceals and reveals. The ever-giving riverrain goddess Oshun ( a Yoruba deity) stands at centre both arms raised to touch her crown, the rolling rivers of water bring fertility and abundance to her people. The strength, productivity and nurturing aspects of the goddess are depicted by the female carrying the produce of the land and the hornbill which protects and cares for its young.
A signed original of Unmasking the Goddess resides in the archives of the NWMA but the images has
been popularly used in association with events, books and programmes representing women.
