Primarily, in this space, I’ll be sharing discussions, in Question and Answer format, of craft, and insights to not only the author/artist’s journey but the story of the arts in Antigua and Barbuda. This is a Work in Progress. The main criteria, so far, for inclusion, apart from the Q & A structure and the arts/art history focus, is that these are interviews not conducted by someone who is part of the artistes’ publishing and/or promotional team, and are interviews that are in the public sphere on a platform independent of the artistes and/or their publishing and promotional team. Beyond that, it’s what I come across and you can also link me interviews that fit the very broad stated criteria by emailing email@example.com
Mark Brown (2015) on Popreel, Swedish TV: “The main aim of the Angel in Crisis series was to bring a sort of humanness to people like her (the nun), priests, people who have to bear that burden of conforming to what society expects of them.” Interview begins at 7:35.
“It took coming here to see that my voice was a voice that needed to be heard.” – Brenda Lee Browne, Real Talk with Janice Sutherland at Phenomenal Woman
Tammi Browne Bannister talking to David DaCosta (December 28th 2016):
“When I was little, I loved reading Aesop’s Fables and was attracted to the humor, the lessons, and the tragedies and of course the way these tales made me think about the characters long after reading. I’ve written a few.” Full interview.
Heather Doram on Observer Radio in a discussion which also included Joanne C. Hillhouse, Barbara Arrindell, and Dorbrene O’Marde (October 2017): “My feeling is that I have lived under several administrations and I really do not get the feeling that there is that widespread support for the visual and performing arts…you just use them when you need them…we do not even have a national gallery in Antigua and Barbuda so we the artists are there producing work in sort of isolation. I’ve seen it in many other countries where the national gallery would commission work; this sort of spurs the whole generation and activity of work and then the artists start to feel that sense of involvement and that their art work can actually support them…the same thing I’m sure applies to the literary artist…something like the cultural development division should be that nexus of that sort of leadership, this is where the cradle is…I would really like to see more support for the arts generally.” Read a transcription of the interview or listen to the interview.
Heather Doram participating in a virtual roundtable chaired by issue guest editor Joanne C. Hillhouse on Tongues of the Ocean along with Mark Brown, Emile Hill, Glenroy Aaron, and the now late X-Saphair King (October 2014): “They were reactive and passionate. They were not satisfied with the realistic interpretation of the Antiguan landscape. They wanted to push boundaries, they wanted to produce work with the visual language of engagement with their audience. Many of their works responded to and explored social, political, gender issues and self. The younger generation sought to explore their roles as messengers in their visual language. I think artists like Mark [Brown], Emile [Hill], and Zavian [Archibald] can be included in this group. They are much more open to expressing themselves and exploring a range of media and techniques in their work.” Read the full discussion here.
“Art is not just a commercial transaction. When an artist shows you their work, they’re showing you their soul, their heart, and what’s important to them.” – Debbie Eckert on Sweden’s Popreel (2018) – beginning roughly at 4:30
Cray Francis talking with Good Morning Antigua Barbuda (April 5th 2016):
“I felt like I had to write my own stories.”
Linisa George reads and talks about ‘In the Closet’, which was the Antigua and Barbuda Poetry Postcard for the UK series featuring works from the Commonwealth in time for the 2012 Commonwealth Games. “I’ve always been a poet…” she says, then explains the journey toward stepping in to that power. Link.
Joanne C. Hillhouse interview on Caribbean Literary Heritage (June 2018): “Honestly, the first thing that flashed in to my mind is Antiguan and Barbudan calypso and Paul Keens Douglas – especially Tanty and Slim at the Oval – on the radio. Neither of which qualify as reading but which were foundational to my introduction to Caribbean literature. It’s there in Antigua and Barbuda’s King Obstinate’s Wet You Hand – a song which was fun and funny to me as a children and which I’ve used as an example of scene building and character description in my workshops, or in the way he knits the story of Anansi stealing the birds’ feathers into another of his songs – songs that did what Calypso did which was be bold-faced and satirical and reflective of our lives and our truth (especially the truths we didn’t dare speak) while bearing our unique brand of humour and matter of factness about life’s tragedies. It’s there in the writings of Shelly Tobitt – named for Romantic era poet Percy Bysshe Shelley; though I wouldn’t see the connection until college. A romantic idealist in his own right, or so his lyrics would suggest, as a child Shelly, the calypso writer and frequent collaborator of Antigua and Barbuda’s best calypsonian and inarguably one of the best the region has ever produced the Monarch King Short Shirt (who Dorbrene O’Marde writes about in his Bocas longlisted biography Nobody Go Run Me), was to me a poet who used the frustrations of the people to comment on economic, social, and political issues in a way that was deeply and enduringly philosophical, with melodies that captivated. So, the calypsonians and the oral tradition (including the jumbie stories) would have been my first reading of Caribbean writing.” Full interview.
Joanne C. Hillhouse talking to The Culture Trip (July 2017): “in The Boy from Willow Bend, Vere’s mother leaves Antigua for better economic and personal opportunities in the U.S., and Vere himself leaves at the end; in Dancing Nude in the Moonlight, Selena and her sisters move to Antigua from the Dominican Republic for better opportunities, and at some point one of the sisters moves away from there as well; in the story, ‘The Other Daughter’, the title character moves to the US for educational purposes. I don’t know if it holds significance to me (there are many stories in which people don’t leave) so much as being a reflection of the reality that movement is a part of the Caribbean existence—whether it’s to seek higher education, economic opportunities, or a different kind of life—the Caribbean diaspora (i.e. the number of Caribbean people no longer resident in here or in the Caribbean country of their birth) is significant. We are a region of small islands with intelligent and talented people, sometimes the desired opportunities to recognize our full potential or even the cover needed to brave the economic storms stirred up in bigger places isn’t there. So, it’s just a reflection of the reality, I think (but just one part of the reality that I write).” Full interview.
Joanne C. Hillhouse on Popreel, Swedish TV (2015): “The characters come to me; they don’t always reveal their stories fully, so for me writing is a journey of discovery. I can’t always see where it’s going but I’m kind of wandering my way through it and trying to figure out what is it all about.” Interview starts here at 8:50.
“When I was growing up, I didn’t know any writers from here, from Antigua, until I discovered Annie John, Jamaica Kincaid; the writers from here that I knew, and I have great respect for them, were the calypso writers, people like Shelly Tobitt and Marcus Christopher, because when I was coming up, calypso was the literature that I would hear that had some relevance to my community, the other literature that we read was mostly from America or from Britain. So it was a while before I could wrap my mind around this idea that this was what I was called to do.” – Joanne C. Hillhouse (2015) on Bookworm, Swedish radio
Joanne C. Hillhouse in the Meet the Writer series at Grab Life by the Lapels: “I just enjoy experimenting within the story writing form, short and long. Much of what I write is character driven and distinctively Caribbean with (I like to believe) universal resonance – because I do believe the stories that are about the human condition can cross over without having to be diluted.” Full interview.
Joanne C. Hillhouse talking to M. J. Fievre at the Whimsical Project (November 21st 2014): “Calypso, the calypso at that time, sang the things people were afraid to say and reflected the concerns and reality of the folk, authentically, in their voice, in a way that stirred spirits. I think there’s a part of me that strives for that in my writing.” Full interview.
Joanne C. Hillhouse talking to Commonwealthwriters.org (2014): “I use a lot of detail, a lot of specificity in rendering the world, and I write from a very character-driven place – Who are they? What do they want? What is their truth (don’t compromise on telling their truth)? Why should we care?” Full interview.
Joanne C. Hillhouse is interviewed by Jamaican publisher-writer for Susumba (2013): “Honestly, I think it comes down to the material. I see publishing as the end game not the first step. Develop your craft, read a lot, experience life, write; these are more important. And when you’re ready do your research… take your shot, and don’t give up.” Full interview.
Tameka Jarvis-George talking with SheRox: “I initially did not start out with the intention to write a whole book. I started writing what I thought was a short story, but it just wouldn’t end.” Full interview.
Jazzie B. talking with Chris Williams for Wax Poetics (May 14th 2014): “’Keep On Movin’ actually came about lyrically because we were at the Africa Center in Covent Gardens, and we were being put under a lot of pressure by the police. It was due to the fact that other clubs in the area were empty and ours kept being full. Every so often, we would get the squeeze put on us. At one particular moment, they threatened to close us down. The whole concept of this song came from there.” Full interview.
Clifton Joseph talking with Andy Williams: ‘…the first person to really encourage me into the writing/performing arts was an older man in my village of New Winthropes in Antigua, Mr. Murray, probably, visually, the most black, blackest person in “Blizzard” as we called our home on the northern coast of the island. I think I was around ten years old and in addition to singing the Antiguan calypso songs we heard on the radio, Mr. Murray would actually pay me a penny, or sometimes two-pence (we were still using the British colonial currency at the time) to make up my own “calypso” verses. The only snippet I remember from then are three lines: “in January they called me clinky, then in February they start to call me sebassie, and in June they start to call my cousin boone”…I have to give Mr. Murray maximum props for sparking that early interest in writing and performing.’ Full interview.
Clifton Joseph talking with Ian Ferrier (2007): “Hip Hop, Dub Poetry, Dancehall, Reggae all sort of come out of the same African inspired, Caribbean, American, emphasis on words, rhythm, repetition; all of those things pull from the same pool of stylistic influences.”
Jamaica Kincaid talking with Mother Jones (January/February 2013): ‘I think I was trying to understand how, short of an accident—you know, you pick up the phone, he says, “Your mother is dead. Her car. The Earth fell”—I never expected the everyday to suddenly become an accident. Suddenly you go downstairs and the pine floor is a gravel pit. I was trying to understand how the everyday suddenly becomes the unexpected.’ Full interview.
Joy Lapps talking with Joanne C. Hillhouse (December 2nd 2012): “I think that my strengths lie in composition and writing lyrics for music composed by others and by myself. My inspiration comes from my lived experience and some things I read about or see on the news, my spirituality and love of God, falling in love with my husband, the everyday challenges of life…etc.” Full interview.
Natasha Lightfoot talking with Renee Goldthree for Black Perspectives (April 4th 2016):
“In the UWI archives, there was an almanac for the West Indies in the nineteenth century, and it contained an entry in the year 1858 for Antigua. The entry mentioned that there had been a riot and that the island’s jails were completely full, but it also claimed that the riot was nothing of any political significance. The entry suggested that the rioters were basically rabble in the streets causing trouble—and not at all political. That entry raised my antenna so to speak. I thought that the way the entry was written was a sign that whatever had occurred was very political: there had been a riot in the streets for several days and the jails were full of rioters. I wanted to figure out what happened and why.” Full interview.
Jelani ‘J-Wyze’ Nias, author of Where Eagles Crawl and Men Fly, talking about following his path to publication: “The biggest wall I encountered, not that there weren’t others, but the biggest was my own fear. And once you get through that fear/feeling of will people understand this, will people accept this, are people gonna see my vision, once you go through that then everything else tends to be a lot more easy to deal with.” – Watch the video.
Dorbrene O’Marde talking with Judd Batchelor at Batchelor of Arts Theatre Online (2016): “And one of the comments I made -which seemed to rattle some of the young writers, was the total absence of socio political concerns in this region, at this particular point in time when there is so much need for concern and there is so much need for understanding the post-colonial independence bind that we find ourselves in, that our leaders find themselves in that we as persons trying to inform leadership have not really clarified for ourselves. And my view of the role of the artist is to help in that clarification.” Full interview.
Paul ‘King Obstinate’ Richards: “We’re prophets; a lot of things we write about comes true.” (King Obstinate on calypso, September 2013)
PHOTO credits: Pictures of Joanne C. Hillhouse and Joy Lapps are from the 2011 event Telling our Stories at the University of Toronto – event photo; of Tameka Jarvis George is from the 2006 Wadadli Pen/Museum literary showcase Word Up! – event photo/Laura Hall; of Jamaica Kincaid is from the 2014 University of the Virgin Islands literary festival – event photo; of Jelani Nias is a screen grab from a televised interview.
As with all content on Wadadli Pen, except otherwise noted, this is written by Wadadli Pen founder and coordinator Joanne C. Hillhouse (author of The Boy from Willow Bend, Dancing Nude in the Moonlight, Oh Gad!, Musical Youth, Fish Outta Water, and With Grace). All Rights Reserved. If you enjoyed it, check out http://jhohadli.wordpress.com Please note that, except otherwise noted, images on this site also need to be cleared if you wish to use them for any purpose. Thanks.