Entertainment Management
Jamaicans are some of the most theatrical people you will ever find anywhere. It is therefore no surprise that this small Caribbean country has one of the most prolific and enterprising theatrical movements in the Caribbean region and indeed in the wider world; producing icons such as Oliver Samuels and Rudolph “Ranny/Maas Ran” Williams. The Jamaican theatre is unique in that it focuses on a number of native styles with a modern twist/presentation. Not surprisingly; music, dance, poetry etc., are commonly integrated into most productions in a skilful way.
Many historians believe that our native theatrical skills began from as far back as the Taíno ceremonies which were a combination of music, dance, and poetic songs to celebrate the heroics of their caciques (chieftains). It is believed that some Tainos survived into the colonial period, moving into the mountains and intermarrying with the Maroons, and so their traditions may have been passed down. Mixed with this was the introduction of African song, dance, and storytelling which greatly influenced the black community. Their dances and games sometimes involved acting and role-playing (often imitating the Backra Massa) during slavery days. There were also fund-raisers called tea meetings which resembled a variety show, with audiences dressed up in elaborate finery to parody Theatre Royal patrons.
Jamaican theatre began in the mid 17th century in Spanish Town, the capital at the time. Over the course of the next century other theatres opened in both Spanish Town and Kingston (Theatre Royal). It is important to note, however, that indigenous Jamaican entertainment displayed little resemblance to Western theatre. Despite our rich history; formal theatre rarely presented tales relevant to island life. In fact, most of the dominant faces in theatre performances were British and American actors belonging to touring companies engaged in Shakespearean productions and other contemporaries. Change came slowly
Many historians believe that our native theatrical skills began from as far back as the Taíno ceremonies which were a combination of music, dance, and poetic songs to celebrate the heroics of their caciques (chieftains). It is believed that some Tainos survived into the colonial period, moving into the mountains and intermarrying with the Maroons, and so their traditions may have been passed down. Mixed with this was the introduction of African song, dance, and storytelling which greatly influenced the black community. Their dances and games sometimes involved acting and role-playing (often imitating the Backra Massa) during slavery days. There were also fund-raisers called tea meetings which resembled a variety show, with audiences dressed up in elaborate finery to parody Theatre Royal patrons.
Jamaican theatre began in the mid 17th century in Spanish Town, the capital at the time. Over the course of the next century other theatres opened in both Spanish Town and Kingston (Theatre Royal). It is important to note, however, that indigenous Jamaican entertainment displayed little resemblance to Western theatre. Despite our rich history; formal theatre rarely presented tales relevant to island life. In fact, most of the dominant faces in theatre performances were British and American actors belonging to touring companies engaged in Shakespearean productions and other contemporaries. Change came slowly
References: 1. Batson- Savage, T. (2007). The buffoon and representation: The case of ‘Oliver’ in Jamaican theatre. Caribbean Quarterly, 53 (1&2), pp.76-83. 2. Bennett, W., Bennett, H. (2012). The Jamaican Theatre- Highlights of the Performing Arts in the Twentieth Century. Kingston, Jamaica: University of the West Indies Press, pp.22-27. 3. Campbell- Livingston, C. (2011). Theatre practitioners reminisce on Miss Lou’s impact. The Jamaica Gleaner, 16 (9), p. 7. 4. Stanbury, L. (2012). Remembering Maas Ran- Theatre Practitioner’s 100th Birthday to be celebrated this week. The Jamaica Gleaner, 25 (12), p.18. 5. The Play’s the Thing. Retrieved from: http://jamaica-guide.info/arts.and.entertainment/theater/ 6. Thomas, D. (2004). Modern Blackness: Nationalism, Globalization, and the Politics of Culture in Jamaica. USA: Duke University Press, pp.45-47.