Theatre of the ballot

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 their hands to the sky.

As one analyst points out, this was more than about stopping the terrible gang violence, “it was about building a better Jamaica.” For Marley, he was concerned about seeing the political promises of building a society with peace and dignity come to fruition.

These are some of the themes raised by Merle Collins in Angel. In the opening quote, Leader is in full performance mode in front of the crowd. The people are mesmerised with the singing and, yes, even the costuming and handsomeness of their lead politician.

Set in Grenada, her book is inspired by the Grenada Revolution of 1979. Through proverbs, local sayings and language, the author addresses a number of themes, including what happens when politics becomes overly preoccupied with spectacle.

We regularly talk about the "drama" of politics. There are key actors; some who we portray as villains, others as heroes. Storytelling is now an essential tool, with clear themes. We observe body language and hang on every word of dialogue. But our lives are not a play.

Beyond the excitement of the political meeting, the reality is that too many of us are in pain and our society urgently needs to become more equitable and peaceful. So, when the lights go down, we the people are the ones who must win. And any politician who does not understand that needs to exit stage left, with no expectation of a callback.

Dara E Healy is a performing artist and founder of the Idakeda Group, a cultural organisation dedicated to empowering communities through the arts