Redemption Song
The larger than life sculpture piece was done by Laura Facey and has been strategically placed at the entrance to Emancipation Park, located in New Kingston. It was commissioned by the Jamaican government to be a part of the Emancipation theme and was unveiled by Prime Minister P.J. Patterson in 2003, on the 1st anniversary of the Park. The 11 feet male and female bronzed figures with African like features are placed on a concrete base, thus further emphasizing the monumental essence of the forms. Water overflows from the top of the concrete base while it is apparent that the bodies are emerging from the centre. They stand facing each other in the nude form, as only two/third (2/3) of their bodies are clearly visible to eyes of viewers. Standing with their hands at their side, they are however not looking at each other, but are instead focusing their view to the sky. Entitled “Redemption Song,” the work came under immediate fire, from all levels of society. Many controversial debates developed under the scope of international media presentations; thus making the work, globally one of the most infamous works of art done in Jamaica. It provoked the historical awareness of Jamaicans while stimulating their interest in the social structuring of the Jamaican society.
While some Jamaicans had no problem with the nudity others found it to be degrading and offensive to ‘black people.’ Claims were made that it supported stereotypical ideas that Africans and their descendants alike are highly sexual, illiterate people. These persons focused primarily on arguing that the male reproductive organ had been oversized, thus giving focal attention to this part of the body while distracting and diverting from the seriousness of the subject at hand; “Emancipation”. The artist however stated that her intention was otherwise,
“Prayer is what I intended. In the words of Dr. David Boxer, who sent me an e-mail last night, 'I see two black human beings resplendent in their purity, their heads raised heaven-wards in prayer... Yes, this is a prayer. The work is a silent hymn of communion with and thanksgiving to the Almighty'.”[1]
The majority of Jamaicans plainly could not identify with the relationship between the nude figures and the concept of Emancipation and as a result, felt as if the roots and struggles of ‘black people’ towards freedom have been misrepresented. Many would rather have been represented by dynamic figures in the act of breaking from shackles, instead of standing in such a passive misguided manner. There were also persons who cried that the work was indecent, uncensored and therefore damaging to the moralities of our society, with claims that the images weren’t suitable for the viewing of children. The artist however had more to say.
When asked if the figures could not have been done wearing clothing, Laura Facey’s responds was, “I never considered clothes... In the creative process, I just went for the essence of what emancipation would have meant for slaves.”[2] This is not the first time that a Jamaican sculptor have created a work which addressed the freedom of ‘black people’ without the consideration of clothing. In fact the work reminisces, Edna Manley’s “Negro Aroused” (1935) and bears strong resemblance to Christopher Gonzalez “Man Arisen” (1966). Both works addresses the issue of freedom from enslavement. Significant similarities that exist among the three works are that they all depictions of the newly freed black ‘people,’ done in the nude and they are all looking to the sky. The only great differences that exist between “Man Arisen” and “Redemption Song” are that, Laura Facey added a female counterpart in “Redemption Song,” the piece was commissioned for public display, while Man Arisen is in an enclosed space and Redemption Song is a larger than life bronze piece while Man Arisen is a little short of being a life size wooden sculpture. However these differences were enough to trigger the attention of the entire Jamaican society towards Redemption Song, while the other work remains relatively unknown.
Within the history of Western art, sculptors have often represented the human body in the nude form. This practice has been done for aesthetics purposes as well as for symbolic reasons. Symbolically nudity has always represented purity. However the mass of Jamaican society have long considered public nudity to be indecent and in many cases disgraceful, and there was no exception for the arts. With the presentation of “Redemption Song,” Laura Facey and the Jamaican Government at the time challenged this perception. The immediate reaction was so overwhelming it led the artist to say,
“I didn't think I would escape controversy but I had no idea that the controversy would be this huge. However, I view the controversy as being all good because, at least, it gives people the chance to express their feelings and views and continue the process of learning and growing spiritually… I am very hopeful that in the future, the public will understand the work for what it is, a prayer by two black slaves in a 'healing stream'. Nudity is part of their rebirth in freedom”[3]
The work was unveiled in a Jamaican society and spoke directly to Jamaican, while inviting the views of others. Today the work is not much spoken about, but remains known as a Jamaican art work that succeeded in engaging the majority of Jamaicans, the history of Jamaican sculptures were incorporated and it has become unavoidable enjoyed as a land mark of Jamaica.
References
2 Mills, Claude; “A Prayer…in a healing stream,” Jamaica Gleaner. Published: Thursday/ August, 2003. http://www.jamaica-gleaner.com/gleaner/20030807/lead/lead2.html
[1] Mills, Claude; “A Prayer…in a healing stream,” Jamaica Gleaner. Published: Thursday/ August, 2003. http://www.jamaica-gleaner.com/gleaner/20030807/lead/lead2.html
[2] Mills, Claude; “A Prayer…in a healing stream,” Jamaica Gleaner. Published: Thursday/ August, 2003. http://www.jamaica-gleaner.com/gleaner/20030807/lead/lead2.html
[3] Ibid
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