Dara E Healy
“And as they sang Leader shouted: 'We shall stand together, we shall die together!'
The crowd roared its approval, chanted its approval of this new hope in song:
'We shall never let our leader fall/Cause we love him the best of all.’ Leader's slender form, dressed all in white, moved gracefully on the balcony in front of the Parliament Building. 'Watch im, nuh! Watch boy, nuh! one woman shouted. 'Dat is man!'”
– Merle Collins, Angel
IN TT, the political event is as well organised and professional as any prestigious all-inclusive fete. Platforms and frames for the stage are erected the day before. Chairs, flags, screens, keynote speakers, DJ, sound system and performing artistes are all in place. On the day, co-ordinated and well designed T-shirts, flags and rags for the audience and plenty of noise makers. Mike check, one two, one two. Lights, camera and plenty of action.
The theatre of the ballot is here and the excitement of a political meeting is undeniable. However, when the lights go down, who should emerge victorious?
Prior to independence, some artists were known for using their creativity as a way to insist that politicians were held to account. Gordon Rohlehr notes that in 1948, calypsonian Atilla, who was also a tent manager, ignored an ordinance of the inspectors general of constabulary and allowed calypsonian Pharoah to perform “The Governor Tall, Tall, Tall/The Governor peeping over the wall.”
This calypso apparently referenced the tendency of the then governor to be involved in affairs that did not concern him (apparently he used to good maco).
In the post-independence period, Caribbean writers documented their concern and disappointment with the growth in corruption and the fact that politicians seemed to be turning away from genuinely caring for the people.
In Ruler in Hiroona, GCH Thomas explores these themes through the character Jerry Mole who rises to political power but is eventually sucked into disreputable practices. Mole becomes more popular as he gets lost in the drama and excitement of public meetings. His public appearances included careful costuming, boasting that a “…long wooden sword dangles at my side...my red pocket handkerchief is in constant use.”
As one reviewer describes it, “Jerry Mole’s career is a course in the art of political theatre and strategic manoeuvre.” Mole ultimately faces his demise as the novelist expresses his disappointment over the types of leaders emerging in the Caribbean, particularly after what the region would have faced during the prolonged trauma of colonial domination.
The fractured nature of Caribbean families, inequity and violence continued to reveal weaknesses in leadership. Perhaps the most powerful example of the effect of creative star power and politics occurred in 1978 when reggae superstar Bob Marley called prime minister Michael Manley and opposition leader Edward Seaga on stage at the historic One Love concert for peace. The iconic photos show Marley, eyes closed standing between the two men, raising the
