A Voice in Which the Caribbean Recognised Itself
Edna Manley College of the Visual and Performing Arts honours Slinger Francisco, The Mighty Sparrow There are voices so deeply woven into the life of a people that their passing unsettles our sense of ourselves. We have heard them through the open windows of our childhood, across the crowded streets of Carnival, in the company of friends, and in those private moments when a familiar song brings an entire world back into view. Such was the voice of Slinger Francisco, The Mighty Sparrow. The Edna Manley College of the Visual and Performing Arts joins the Caribbean and its diaspora in mourning an artist who gave our experiences the shape of song and our language the authority of public witness. Born in Grenada and raised in Trinidad, Sparrow belonged to that Caribbean whose connections have always exceeded the boundaries drawn around its islands. His journey carried something of our own: the crossing of water in search of opportunity; the making of home in another island; the discovery that belonging can deepen without its first roots being severed. Trinidad nurtured his genius. The wider Caribbean recognized itself in what that genius produced. Imagine the landscape from which that voice emerged: the Northern Range holding its green shoulders above Port of Spain; the Queen’s Park Savannah gathering the spectacle and argument of Carnival; the sea at Chaguaramas carrying the weight of foreign interests; the yards, streets and calypso tents alive with people determined to make something of their circumstances. Sparrow listened to that world with an artist’s ear. He heard the quarrel beneath the conversation, the anxiety inside the laughter, the political consequence hidden in an ordinary transaction. He gave those discoveries melody, character and dramatic life. His emergence in the 1950s came as the Caribbean was pressing towards self-government and searching for a language adequate to its own aspirations. In Jean and Dinah, the changing presence of American servicemen became a story of money, sex, survival and shifting power. Beneath its irresistible movement lay the uneven bargains of a society shaped by foreign military presence. Its exuberance carried the confidence of a young performer claiming the stage, while its characters exposed a world in which livelihood and vulnerability were intimately entangled. That capacity to locate history within human experience remained central to his artistry. Sparrow understood how much a nation reveals about itself in its jokes, its desires, its evasions and the things its respectable citizens prefer to leave unspoken. His humour could disarm an audience before the full force of the observation arrived. The laughter opened the door; the insight stayed in the room. For an institution committed to education through the arts, Dan Is the Man (in the Van) has particular resonance. Its satire of colonial schooling asks us to examine what happens when children are taught to recite a world in which their own lives scarcely appear. Sparrow turned the schoolroom into a site of cultural interrogation. His song continues to challenge educators to consider whose knowledge we dignify, whose language we correct, and whose experience we allow to count. In that challenge lies a responsibility that Caribbean education still carries: to cultivate minds capable of knowing the world without becoming strangers to themselves. In Federation, the regional project entered the calypso tent, where political ambition could be questioned and the disappointment of fractured unity could find a public voice. Sparrow’s own life, stretching from Grenada to Trinidad and into the wider world, gave particular force to that concern. His audiences crossed the very waters our political arrangements have so often struggled to bridge. His music made a shared Caribbean experience audible. And when Capitalism Gone Mad confronted economic distress, he brought the large abstractions of economic life within reach of the people required to live with their consequences. The argument acquired a pulse. The pressure on ordinary lives became something an audience could recognise, sing and carry home. Sparrow’s mastery also resided in the performance itself: the supple voice, the impeccable timing, the movement, the pause that allowed an implication to ripen, the pleasure of a phrase delivered with complete command. His stage was a meeting place for music, poetry and theatre. The Caribbean vernacular, in his keeping, could bear sophisticated argument, exquisite comic invention and the full weight of social observation. He also understood that artistic acclaim must have a material counterpart. His protest against the inadequate rewards offered to calypsonians asserted the dignity of creative labour. For us at Edna Manley College, that remains an essential part of his inheritance. A society that celebrates its artists must also take responsibility for the conditions under which they create. We honour Sparrow by listening closely; by teaching his work with the seriousness its craft deserves; by preserving the recordings, histories and performance traditions through which future generations can encounter him. We honour him when we encourage our young artists to attend to the lives around them, trust the expressive resources of their own culture, and acquire the discipline that allows talent to become enduring work. The Edna Manley College extends its deepest sympathies to his wife, Margaret, to his children and family, and to the calypso fraternity he mentored. We extend them also to the people of Trinidad and Tobago and of Grenada, and to the Caribbean Community in New York who kept him close in his later years. We are grateful that he found peace in his faith at the last. Across the Savannah, another Carnival will gather. The Northern Range will keep its watch above the city. Somewhere, a recording will begin, and that unmistakable voice will return us to the pleasure and provocation of his company. We shall hear Sparrow again. And in hearing him, we shall hear ourselves. DorrettRCampbellInterim PrincipalEdna Manley College of the Visual and Performing Arts
Edna Manley College Earns First JTEC Registration in 50-Year History
Interim Principal of the Edna Manley College of the Visual and Performing Arts, Ms Dorrett Campbell, receives the Certificate of Registration, from former JTEC Commissioner, Maxine Henry Wilson as Commissioner Dr. Dameon Black looks on. KINGSTON, Jamaica — October 9, 2026 — The Edna Manley College of the Visual and Performing Arts officially received its Certificate of Registration as an Advanced Specialist Institution from the Jamaica Tertiary Education Commission (JTEC) today. JTEC’s first Commissioner, Mrs. Maxine Henry-Wilson, presented the certificate to Interim Principal Ms. Dorrett Campbell at a conferral ceremony held in Kingston. This is the College’s first registration with the Commission in its 50-year history, and highlights the institution’s commitment to high academic standards, accountability, and regulatory compliance. Additionally, it paves the way for EDNA to apply for a change of name to the Edna Manley University College of the Visual and Performing Arts.
From Silence to Centre Stage: EDNA Alum Damany Hughes Makes NDTC History as First D/deaf Dancer
From Silence to Centre Stage: EDNA Alum Damany Hughes Makes NDTC History as First D/deaf Dancer From Silence to Centre Stage: EDNA alum Damany Hughes Makes NDTC History as First D/deaf Dancer When Damany Hughes dances, you don’t just see the movement—you feel it. The 2025 graduate of the Edna Manley College of the Visual and Performing Arts (EMCVPA) has made history as the first D/deaf performer to join Jamaica’s National Dance Theatre Company (NDTC) in its 63-year legacy. His debut marks not only a personal triumph, but a powerful step towards inclusivity in the Caribbean’s performing arts sector. But long before the spotlight, the national stage, and the standing ovations, Damany was a young boy learning the world his own way—through vibration, energy, and silence. Photos contributed by Stuart Reeves Discovering Dance Without Sound Growing up hard-of-hearing, Damany didn’t experience rhythm through melody or lyrics. Instead, he felt it. “I would watch dancers in silence and feel everything they were expressing. That’s when I realised dance isn’t just about music—it’s about connection, expression, and freedom. They inspired me to believe dance could belong to me, too,” he recalls. For Damany, dance, much like sign language, became a powerful form of non-verbal storytelling. It allowed him to communicate emotions and ideas beyond words, using his body as the ultimate translator. “Dance is my expression of art. It is how I am able to express myself. I had to find ways to adapt, to feel the music in my bones, read subtle visual cues, and trust my body’s internal rhythm. That pushed me to explore movement in deeper, more emotional ways.” Facing His Fears Damany’s path to professional dance was far from typical. He attended the Lister Mair/Gilby High School for the Deaf, where his passion for performance was nurtured. Supported by his principal, he applied to EMCVPA’s School of Dance—becoming one of the first D/deaf students to join its degree programme. What followed was four years of rigorous technical training, personal breakthroughs, and emotional resilience. “I came in with fears of not fitting in, being misunderstood, of struggling in a space built around sound, but EDNA taught me that art is about expression, not perfection.” Rather than being limited by his hearing difference, Damany developed alternative ways of learning choreography—relying on visual cues, muscle memory, and internal rhythm to create powerful performances. “It’s a different way of dancing, but it’s just as powerful—sometimes even more—because I dance with my whole being,” he explains. A Dream Realised In July 2025, Damany made his official debut with the National Dance Theatre Company (NDTC) in their 63rd season, fulfilling a long-held dream and making national history in the process. “I dreamt of dancing with the NDTC. Getting into EDNA was the first step. I remember really struggling with ballet in the beginning to grasp it, but regardless of the challenges, I have continued to push through to realise my goals… and to now perform with Jamaica’s leading dance company… it’s such a remarkable thing, especially being the first D/deaf person to do so.” This achievement reflects not only Damany’s talent and determination but also the EMCVPA’s commitment to inclusive arts education, creating opportunities for differently abled students to thrive in professional spaces. His former Dean and NDTC’s Artistic Director, Marlon Simms, has been one of his biggest champions, crediting Damany’s success to both his raw talent and the School of Dance’s inclusive teaching model. “I have learned much more from Damany than he has learned from us over the years. It’s so nice to see how much he has grown, how open and welcoming the school has been to someone with his challenges, and how differently they learn. That has been a part of our development process as faculty members.” Breaking Barriers for Future Creatives Now a professional performer, Damany encourages other D/deaf persons and creatives with disabilities to pursue their passions, even when the path seems unclear. “To every young or differently abled artist out there who feels like the arts world wasn’t made for you, I want you to know this, the arts world needs you. You belong in every studio, on every stage, in every gallery. Your perspective, your story, and your way of expressing it are not only valid, they are vital. If you are interested [as a D/deaf dancer], you can find support to be included. Surround yourself with people who see your worth. Keep learning, keep expressing, and never let anyone define your limits.” Be Unapologetically You For young artists coming up behind him, Damany leaves this message: “You’re not just creating art, you’re creating change. The beauty of art is that it grows and evolves when people who are different step in and challenge the norm. Your differences are not a weakness; they are your strength, your originality, your power. Yes, the journey will be harder. You may have to fight to be seen or understood. You may even have to carve your own path where one doesn’t exist… but every step you take makes it easier for the next person like you. So be unapologetically you. That’s where the magic lives.” A New Chapter for Jamaican Dance Damany Hughes isn’t just a dancer, he represents endless possibilities for Jamaica’s creative industries to embrace a more inclusive future. His story sends a strong message about the need for accessible training opportunities, adaptive teaching methods and open-mindedness in the performing arts sector. It is also a testament to the power of inclusive arts education at EMCVPA. As he takes his place on one of Jamaica’s most prestigious stages, Damany says simply: “My journey with dance has only just begun.” With grace, grit, and guts, Damany is shifting narratives in Jamaican dance, proving that inclusion doesn’t dilute artistry—it deepens it. Congratulations, Damany! #EDNAnation couldn’t be prouder.
Celebrating Excellence: EMCVPA Lecturers Win Big at the 2025 Actor Boy Awards
Celebrating Excellence: EMCVPA Lecturers Win Big at the 2025 Actor Boy Awards Celebrating Excellence: EMCVPA Lecturers Win Big at the 2025 Actor Boy Awards The Edna Manley College of the Visual and Performing Arts proudly celebrates theoutstanding achievements of two of our very own — Paul Newman and Owen “Blakka”Ellis — who were honoured at the 2025 Actor Boy Awards for their exemplarycontributions to Jamaican theatre. Paul Newman, a lecturer in the School of Dance, took home the award for Best Choreography for Pull Up: Jamaica Land We Love — produced by DMH Productions. Known for his bold artistic vision and tireless commitment to excellence, Paul’s choreography pushed both creative and physical boundaries. His ability to inspire performers, even those new to movement, has become one of his most celebrated strengths. The recognition comes as no surprise to those who have worked with him. As shared by DMH Productions on social media: “Paul’s relentless drive to push boundaries and create magic on stage has truly set him apart… turning every movement into a masterpiece.” This marks his second Actor Boy Award win — a testament to his consistency, influence, and mastery of the stage. Meanwhile, on the School of Drama side, celebrated actor/comedian, director, writerand lecturer Owen “Blakka” Ellis led the musical Buss Big to a Best Musical win at this year’s ceremony, tying with JMTC’s Aladdin. The production, a dynamic exploration of dancehall, culture, and ambition, was met with thunderous applause during its run — affirming Blakka’s sharp storytelling and musical direction. The award follows on the heels of Tick Tock, another powerful School of Drama stage work co-created with fellow lecturer Camille Quamina, which has continued to generate buzz long after closing, tackling themes of gender, power, and identity with honesty and edge. From Buss Big to Tick Tock, his work continues to stir critical conversations — a reflection of both his artistry and his enduring commitment to social commentary through performance. These wins shine a spotlight not only on two stellar creatives, but on the calibre of mentorship and artistic leadership alive at here EMCVPA. We salute Paul Newman and Owen “Blakka” Ellis for continuing to uplift, inspire, and expand the boundaries of Jamaican theatre — on our stages and far beyond. Powerful Scenes from the School of Drama play, ‘Buss Big’ a dancehall musicaland recipient of the ‘Best Musical’ Actor Boy Award this year.
Matthew McCarthy to Design Mural at Norman Manley International Airport
Matthew McCarthy to Design Mural at Norman Manley International Airport Matthew McCarthy to Design Mural at Norman Manley International Airport We are thrilled to celebrate the latest achievement of visual artist and Edna Manley College SVA alumnus, Matthew McCarthy, who has been selected to design a bold new mural for the iconic roundabout letters at the Norman Manley International Airport (NMIA). This exciting project is a partnership between Kingston Creative and PAC Kingston Airport Limited (PACKAL), operators of NMIA, and invites a uniquely Jamaican perspective to greet travellers as they arrive on the island—it’s especially symbolic as the airport is currently undergoing a five-year development initiative to position it as a first-rate point of travel globally. Out of numerous submissions, Matthew’s concept stood out — a testament to his consistent creative vision and dynamic visual language. Known on Instagram as @eyedealistworldwide, Matthew has been prolific since his days as a student at the College, using art as a vehicle for social commentary, cultural celebration, and visual storytelling through graffiti work around the city of Kingston. This selection comes as no surprise. His work continues to impact public spaces across Jamaica and has also gained recognition internationally. We’re proud to see one of our own transforming the gateway to Kingston with his distinct artistic voice. Congratulations, Matthew — your creativity continues to make a powerful mark on Jamaica’s visual landscape!
Nevrona Campbell Helps Buff Bay High Take Silver in Regional Lifestyle Competition
Nevrona Campbell Helps Buff Bay High Take Silver in Regional Lifestyle Competition Nevrona Campbell Helps Buff Bay High Take Silver in Regional Lifestyle Competition We are proud to highlight the inspiring work of Nevrona Campbell, a graduate of the School of Drama who is now serving as the Drama Teacher at Buff Bay High School, Ms Campbell recently played a key role in her school’s outstanding performance at the North-East Regional Health Authority’s Regional Healthy Lifestyle Competition, held on Thursday, March 27, 2025. Under the guidance of a dedicated team of educators — including Ms Campbell — Buff Bay High’s Theatre Arts Collective secured an impressive 2nd Place finish, earning a Silver Medal and Trophy across Regions 1, 2, and 3. Since joining the school, Ms Campbell has made a significant impact on its cultural landscape, with many praising the waves she’s already making. The group’s achievement stands as a testament to thepower of creative education and the value of strong mentorship. We salute Nevrona Campbell for her continued commitment to youth development and the performing arts. Her success reminds us that the legacy of Edna Manley College (and the School of Drama) lives on in classrooms and communities across Jamaica. Congratulations, Nevrona — your alma mater is very proud!
Homecoming! JaRIA Returns to EDNA for Reggae Month 2025
Homecoming! JaRIA Returns to EDNA for Reggae Month 2025 Homecoming! JaRIA Returns to EDNA for Reggae Month 2025
New Year, New SCEAP Courses for all!
New Year, New SCEAP Courses for all! New Year, New SCEAP Courses for all!
Petrona Morrison
Petrona Morrison was born in Manchester, Jamaica in 1954. She received her initial art training in Canada, at McMaster University, where she graduated in 1976. She left Jamaica again in the mid 1980s for MFA
Inclusion of Dance
Part of the background of the UNESCO Position Paper for the First World Conference on Arts Education in March 2006 states that Art Education—which aims at passing down cultural and artistic heritage to young people, giving them the means to create their own language
