This year’s Jamaica Carnival stayed largely on script, delivering its traditional mix of risqué costumes, Soca music, and lots of rum, with the exception of the spectacle – though not necessarily sombre- created by Ebony G. Patterson’s “Bling Funeral”.
Hundreds crammed the streets of Kingston along the parade to share in the excitement of the annual Carnival procession, but were kept to the sidelines by restraining ropes and dozens of attendants who saw to it that no one unregistered would march with the bands.
Somewhat segregated too were Patterson and her band. She explained that her parade almost didn’t happen because she became engulfed in red tape which looked likely to impede her plans.
However, she was eventually allowed to showcase her coffins behind the carnival mass, allowing the noted contemporary Jamaican artist to declared through her art, that carnival has lost its identity and is now a purely commercial activity exclusive to a specific socio-economic group. In other words, it no longer has a resemblance to Old Mas.
“Old Mas, was about protest about some kind of grievance and taking it to the street. She declared, adding that, “What we have adopted (in Jamaica) is the bikini Mas’ the most superficial bit of Carnival.”
With 50 replica coffins each designed with its own individualized aesthetic,characterized by colour, patterns and texture, Patterson’s parade titled “Invisible Presence: Bling Memories” created quite a stir.
Onlookers sang and danced as they watched the group march to Jamaican funeral songs mixed with reggae music played by the St. Michaels Steppers Community Marching Band.
Patterson provided a veritable facsimile of the bling funeral of dancehall culture where the poor and unnoticed inner city residents celebrate the dead with an over the top “blinged-out” celebration. As such, the parade not only showcased a popular cultural ritual but also created visibility for the ‘invisible’.
Loop News Service