Petrine Archer [.com]

Although better known as an abstract painter of nature, Hope Brooks has never been shy about including political content in her work; dealing with subjects such as the US bombing of Afghanistan Tings cuda wurs (2001), human rights Justice Denied (2010) and Confessions of a Policeman, 2010 or environmental issues such as Painting for the Planet Earth (2011). In her latest solo show, People and Their Stories: Then and Now! at the Mutual Gallery, Kingston, she turns her attention to race and issues related to history, nation and identity. Using the head as a recurring image she compulsively demonstrates her preoccupations with slavery as part of the colonial story that has tied Jamaica to both Africa and Europe.

In her typically unrelenting way, Hope creates a family of images that is not portrait painting in a conventional manner. Instead, Hope explores the human condition in its most existential sense, carefully meditating on the nature of our being, beyond nomenclature, physicality, or social hierarchies. In this year 2011, declared by the United Nations as the International Year for People of African Descent, Hope Brooks' Benetton coloured heads remind us that Africa is the cradle of humanity and that our concern with that continent and its diaspora, is a concern for the self and each other.

A conference honouring Marcus Garvey's birthday, the 60th anniversary of the publishing of Report on The Rastafari Movement in Kingston Jamaica, is taking place at the University (UWI, Mona) this week. It's a big celebration gathering Rastafari scholars from the African Diaspora. They are exploring ways that the Rastafari world view has influenced all areas of life under the banner 'Negotiating the African Presence: Rastafari Livity and Scholarship.'

Much has changed since Roy Augier, Rex Nettleford and M.G. Smith first offered their report to the nation about Rastas. In 1960, the movement was still in its infancy and greatly misunderstood amongst Jamaicans. Rastas were effectively demonized by wider society that could not accommodate their desire to return to Africa, beliefs about the divinity of Haile Selassie and their use of marijuana as a sacrament. Yet, in many ways Rastafari's stand against what it called 'Babylon' including corporate culture, the hypocrises of the church and excesses of state control, were visionary. Today, with the universal popularity of reggae, a global youth culture that favours outsiderism and Rastas inclusion within 'Brand Jamaica', the movement has achieved acceptance and a place of national pride for its ability to survive. Rastafari's lifestyle that promotes 'ital' vegetarianism, self reliance and ecological stewardship has proven inspirational and very much in keeping with new age thinking. It is a movement that needs to be honoured for its spiritual fortitude, and the way that its convictions have contributed to the conscience of our nation. See an extract of my paper.