Walls
The theatre of
conviction: a tent and within its geometrical boundaries a crowd of people,
none of them spilling out into the open, bound not by walls but by conviction.
The best
architecture in Jamaica is architecture where the wall does not define the
limits of a place but the beaten ground, or the shading device.
This explains why
many houses of Jamaicans are the way they are. The poor and the content have
tiny houses. They make do. They dwell outside. The house is no more than a
treasure box, a core to represent their existence, to hold moveable poperty and
dreams and to serve as the centre of their world. Brightly coloured on the
outside and, perhaps distinguished by gingerbread, the house is a landmark, a
sign of property, a sign of identity.
Its walls are made
of corrugated iron, scraps of wood, the occasional concrete block, all of it
easily penetrated by the ricochetting violence. A girl was shot in her sleep.
Her head lay on a cussion with a cheap pillowcase decorated with large fleshy
red roses. She was shot through the head. You could hardly distinguish the
blood from the pillow-cover’s print. The bullet had not really been intended
for her. She was after all asleep. The bullet strayed from a policeman’s gun
and was meant to stop a young man, a thief, a dealer, a murderer or an awfull
trinity in one.
Some houses have
become books on the outside as well a sacred ground on the inside, with altars
covered with signs in hommage to meaning. On the outside they become sermons,
billboards of affiliation, proclaiming the magic that consecrates ownership, procaliming
Anger and conviction. Sometimes they echoe the fragments of pride, or political
enslavement, or the icons of an America of which Goofy and Mickey Mouse are its
ambassadors.
So many of the
small houses are so essentially houselike, the consequence of an absolute
reductionism. They say “house” in the
most poetically succinct way: door, flanked by two windows, roof and wall.
But the structure
is not the whole home. The House in Jamaica, is as the hearth in northern
countries, only a focus of the domestic rituals.
The beaten earth
around the house, with its deep red colour, those are the paths that make home
into its peculiar configuration of habits and responses.
Anger expressed on
houses tends to be roughly painted in a rhetorical gesture. Reconciliation,
when expressed on walls, has a more formalised and carefully executed look.