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Mapping Jamaican Visual Art Knowledge Systems

AD 1000-1170

Taino Artifacts

The Tainos were the indigenous people of Jamaica thought to have arrived from South America around 600-950, naming the island “Xaymaca” or land of wood and water.

Due to Spanish colonization in the 15th century these Arawak people all but vanished, leaving behind few artifacts and pictorial drawings. The National Gallery currently holds 4 Tainos objects, with the majority of Tainoi artifacts kept by the British Museum. (National Gallery Jamaica, 2009).The National Gallery's dujo (a ritual stool) is the oldest art artifact in its collection and may be the oldest Tainos dujo still in existence, found in St. Catherine.

Approximately 26 cave art sites in Jamaica have been found and recorded containing petroglyphs and pictographs thought to have been made by the Tainos. Only 4 contain pictorial drawings. The largest site with pictographs being Mountain River Cave discovered in 1897 by J F Dueden and documented in 1960-70s by J W Lee in Cudjo Hill, St. Catherine. The site was later entrusted to the Jamaica National Heritage Trust in 1982. (Thorne, 2020).

(Photos: Eleanor Nelson. This content is used for non-commercial, educational purposes. All rights to the original content are held by NGJ.)

18th Century

Imposition of Eurocentric Aesthetics

Jamaica became one of the world’s top sugar producers operated by enslaved Africans. Jamaica’s plantocracy (society or government ruled by or dominated by plantation owners) brought in European artists for commissions of plantation landscapes and portraits of plantation owners, effectively introducing European formed art standards (Boxer & Poupeye, 1998, p. 11-12).

Philip Wickstead (1775) Photo Source and Further Reading.

James Hakewill (1820-1821). Photo source. Further Reading.

Joseph Barthalamew Kidd (1838-1840). Photo Source.

1835

Start of Public Education

Jamaica (a British colony) received funds from the British government’s Negro Education Grant for the education of formerly enslaved populations marking the start of public education. (Barnes, 2010, p. 18). Awarded to religious bodies (missionaries), funding ceased in 1841 (Thompson, 2025).

August 1, 1838

Emancipation

The Emancipation proclamation was read commemorating the end of slavery.

1879

Founding of the Institute of Jamaica

The Institute of Jamaica founded for the encouragement of Literature, Science, and Art by Governor Sir Anthony Musgrave. Secretary and Librarian Englishman Frank Cundall, was responsible for cataloging collections including IOJ’s Portrait Gallery. Other documented work includes engravings and architecture which included a biographical guide (Poupeye, 2011 , p.65)

1890-1914

Promotional Representations

In Eye for the Tropics: Tourism, Photography, and the Caribbean Picturesque, Krista Thompson classifies this period as a time in which British colonial administrators, mercantile elite, and foreign businessmen from Britain and North America aimed to photograph “the New Jamaica” or “Awakened Jamaica” in aesthetically pleasing ways to promote the island as modern and civilized. (Thompson, 2006, 29-30)

(Photo source and further Reading: Krista Thompson's The Evidence of Things Not Photographed: Slavery and Historical Memory in the British West Indies (2011) contains a rich historical overview with photos from the Thompson's personal collection and reproductions with official permission. )

1891

Repositioning/ Censorship

Jamaica International Exhibition in Kingston opened. In preparation, Jamaica premiered the Jamaica Hotel Law of 1890 to provide financial incentive for hotels to be built for the exhibition. The exhibition was Jamaica’s attempt to attract investment, largely in tourism. Notably, only one English photographer, A.P. Baker, was allowed to take photographs of the Jamaica International Exhibition until the last 2 weeks of the exhibition. (Lumsden, 1991)

The exhibition also included a collection of seized Obeah Artifacts (at least one of which was of Jamaican origin) owned by a member of the Constabulary named Inspector Thomas. The display was removed after 10 days "and the official reason cited there was that would deter local country people from visiting (Gleaner, February 11, 1891, 3)." It is assumed objects were returned but are presumed lost. (Poupeye, 2018). This is another example of limitations to access and preservation of Caribbean visual culture.

(Jamaican Historical Society Bulletin Vol 10 nos 3&4 Oct 1991 pp 17-21. Photo reprinted in Joy Lumsden's article on the Jamaica International Exhibition)

1898

Banning of Obeah (Impact on Preservation of Cultural Artifacts)

The Obeah Act of 1898 (still in effect today) criminalizes the practice of Obeah, a form of traditional Caribbean spirituality with African roots. The act defines an “instrument of Obeah” to be “anything used, or intended to be used by a person and presented by such person to be possessed of any occult or supernatural power (Paton, 2019).” During slavery, Obeah was a tool of resistance thought to "ward off evil" and was first made illegal in Jamaica in 1760 after Jamaica's biggest slave rebellion (Tacky's rebellion). These acts impacted the preservation of antique and culturally historical objects.

1929

Rise of Nationalism

Marcus Garvey calls for a ‘National Opera House with an Academy of Music and Art’ in the manifesto founding the Jamaican political party, the People’s Political Party. “Garvey encourages the development of black art as an instrument of racial upliftment” (New World Imagery, Contemporary Jamaican Art Exhibition Catalogue, 1995)

1934

In 1934 Marcus Garvey addresses art in his speech for the United Negro Improvement Association, which he was the founder of, stating:

“The Negro has not engaged himself in the building up of a Standard Artistic Civilization. He has had only Tribal Civilizations. […] The Art of Sculpture has been raised by the White man. What do you have to compare. What expression of your art in sculpture? Nothing. […] You can still find in Egypt lasting monuments of Negro Art. But it is not a credit to us today. As much as we are trying to develop ourselves in Business, Religion, Politics and so on, we have to build up ourselves in Art. […] We must train the young Rubens, the young Rosetti, the young Reynolds, the young Michaelangelo [sic] of the Negro Race.”

(Gleaner, August 18, 1934, 27) as read in a blog post from Veerle Poupeye entitled “From the Archives: Ideas about Art and Postcolonial Society-Part 1 from May 3, 2019)

1934-1937

Edna Manley published the first of several articles in the national newspaper the Gleaner on Jamaica's artistic consciousness. Edna Manley was a British trained sculptor of Jamaican descent. She moved to Jamaica in 1922 with her husband Norman Manley who became Jamaican Premier (Founder of the political party the People’s National Party) in 1959. Ultimately calling for a Jamaican art gallery and national collection, Manley writes in her first article on September 13, 1934:

"Who are the creative painters, sculptors and engravers and where is the work which should be expressions of its country’s existence and growth? A few anaemic imitators of European traditions, a few charming parlour tricks, and then practically silence. Nothing virile, nor original, nor in any sense creative, and nothing, above all, that is an expression of the deep-rooted, hidden pulse of the country – that thing which gives it its unique life. To go into the cause for this barrenness is too big a subject for a newspaper – perhaps it is a still unrealized island consciousness; of one thing I am sure it is not – that there is nothing to be expressed"

(Manley, E. 1934). as read in Veerle Poupeye's 2011 dissertation "Between Nation and Market: Art and Society in 20th Century Jamaica"

1937

Jamaica Welfare foundation founded (today known as The Social Development Commission). The Jamaica Welfare Commission notably included crafts as a means of earning a living. In 1938 at the first national art exhibition organized by the national intelligentsia (the 1938 All Island Exhibition), Jamaica Welfare sponsored a prize for "crafts suitable for sale to tourists." (Waugh 1987, 90 as read in Poupeye, 2011, pg 39) Jamaica Welfare also worked with the Jamaica Agricultural Society in establishing the 4-H Club Movement (Francis. 1969. pg 47), viewing crafting as a marketable skill and aspect of cultural heritage s under the "hands" H of 4H.

1930's

Rise of Intuitives

Rise of the Jamaican Intuitives or self taught visual artists. (only a few listed below)

Articles:

John Dunkley (1891-1947)

Everald Brown (1917-2002)

Mallica Kapo Reynolds (1911-1989)

1940's

Emergence of Institutional Art Classes

In 1942 The British Council, a division of the Foreign Office, opened its office in Jamaica. Partnering with Institute of Jamaica, they funded a new wing for its Junior Center and made possible free art classes for adults at the Junior Centre, taught by Edna Manley. (Poupeye, 2011, pg 105).

1944

Establishment of Minister of Education

Representative Government established and adults over 18 were allowed to vote via the law of 18 universal suffrage. The new constitution established an executive government of five elected members, including a Minister of Education. This meant that citizens had a say in education for the first time. (Barnes, 2010, p. 18).

1947

Booming Textile Industry

The Textile Industry introduced by the British based company, the Ariguanabo Company of Jamaica.The Jamaican Ariguanabo factory was the largest industrial plant in the British Caribbean of its time, containing 350 looms which wove cotton 24 hours a day and only stopped for Sabbath and important holidays. Ariguanabo’s appreciation for Jamaica's cassava starch necessitated the first bills relating to industrialization in Jamaica to be drafted in 1942. Not passed until 1947, the Textile Industry Encouragement Law granted remissions of customs duty and tonnage tax for imports for construction and operations and relief on income tax. Ariguanabo would go on to produce ten million yards of brown calico, blue denim, and blue chambray a year. (Coombs, 2008, p. 5)

Prime Ministery Andrew Holness speaking on the Ariguanabo Factory posted to facebook/instagram June 25, 2025

1950

First Formal Arts School Opens

Picture Source

The Jamaican School of Art and Craft for part time studies was established at the Da Costa Institute in Kingston Gardens (New World Imagery, Contemporary Jamaican Art Exhibition Catalogue, 1995)

1950's

First Major Commercial Gallery Opened

The Hills Gallery opened in November of 1953. (Boxer & Poupeye, 1998, p.25). Run by Christopher and Norah Hills it was operational until 1977.

1960's

Things Jamaica established

The government under the guidance of the Minister of Economic Development and Social Change, Honorable Edward Seaga, established Things Jamaican™. Its main functions were to 1) re-organize craft development, 2) promote the craft sector through research, design and marketing of high quality Jamaican hand-made products for both the local and tourist markets, and 3) operate as a commercially viable entity. To do this they opened a training center focused on 6 areas of production including: wood, pewter, straw, leather, weaving, and ceramics. (Jamaica Business Development Corporation, n.d.) Seaga approached the United Nations Development Program for assistance and specialists were brought in to support craftspeople in entrepreneurship resulting in a course grading existing craft workers operating across the island. (The University of the West Indies at Mona, ND)

August 6, 1962

Independence from Britain

1962

First Diploma offered in Arts & Crafts

The Jamaica School of Art and Craft becomes a diploma granting institution for full time studies (New World Imagery, Contemporary Jamaican Art Exhibition Catalogue, 1995)

1963

The Jamaica Cultural Development Commission established

1963 marked the first Festival Fine Arts exhibition- an exhibition eventually annually touring commercial galleries and school auditoriums across the island. In 2007 this exhibition was taken over by the national gallery (Poupeye. 2011. pg 262). Originally known as the Festival office, then as the Festival commission in 1968, in 1980 this body was officially given the name The Jamaica Cultural Development Commission (JCDC) as an agency of the Ministry of Culture, Gender, Entertainment and Sport representing a shift to larger functions. Today this means inclusion of an Arts Development and Training Division. (Jamaica Cultural Development Commission, n.d.)

1964

The Contemporary Jamaican Artists Association founded

The Contemporary Jamaican Artists Association is founded by Eugene Hyde, Barrington Watson, and Karl Parboosingh.(New World Imagery, Contemporary Jamaican Art Exhibition Catalogue, 1995). It was active from 1964-1975.

Rise of Art Galleries in Kingston

1965

Bolivar Gallery was opened in 1965by English migrant, Hugh Dunphy pictured in the Gallery with Barrington Watson in 2013. Hugh Dunphy operated the gallery until his death in 2016 when the gallery officially closed.

Further Reading: National Gallery Jamaica's tribute to Hugh Dunphy.

Photo Source

1970

Eugene Hyde established the John Peartree Gallery in 1970, dedicated to artists involved in creative experimentation like abstract or modernism. (National Gallery of Jamaica, 2011).

Further Reading: National Gallery Jamaica feature on Eugene Hyde

Photo Source

Hi-Qo Art and Framing Gallery opened in Kingston in1970. Acquired by Diane Fredricks in the 1980’s. (Art Events, 2023)

Photo Source

1972

The Jamaica Cultural Development Commission established

Prime Minister Michael Manley appointed the The Exploratory Committee on the Arts on April 2, 1972 to 'assess the cultural situation and make recommendations for action' with an emphasis on human resource development. Chaired by the Cultural Advisor to the Prime Minister, Rex Nettleford, members included representatives from different fields of the arts including literature, cinema, media, theatre, dance, folklore and music as well as individuals representing education, library science, the Church, business, and tourism. Specifically the group was entrusted to content with:

The role of Government in the development of arts and culture in ways that would be consistent with freedom and without prejudice to the proven importance of the private input to the creative process
The rationalization and maximization of existing resources provided by Government and the private sector
The decentralization and spread of resources into areas outside of Kingston
The provision of increased opportunities for the greater participation of the large majority of the people m such a way as to make every citizen aware of a point at which he can relate to his own culture and creative endeavours
The development of means to bring the country's cultural heritage into/perspective bearing in mind the imbalances of history an the contemporary response to this phenomenon especially among the assertive and self-aware youths
The introduction into our strategies for educational development, the natural concept of creative arts in education
The economic implications of artistic and cultural activity in terms of employment potential, and the protection of the livelihood of creative artists
The consideration of sports as an important component of the country's cultural development programme

(Report of the Exploratory Committee on the Arts, Kingston, Jamaica 1972, p 1-2 as read in Rex Nettleford's 1979 book "Cultural Action & Social Change The Case of Jamaica An Essay in Caribbean Cultural Identity" ,p 87-88 )

1972

The Caribbean Examinations Council founded

Caribbean Examinations Council (CXC) Founded by the 16 Participating Governments in the Caribbean Community (CARICOM): Anguilla, Antigua and Barbuda, Barbados, Belize, British Virgin Islands, Cayman Islands, Dominica, Grenada, Guyana, Jamaica, Montserrat, St. Kitts and Nevis, St. Lucia, St. Vincent and the Grenadines, Trinidad and Tobago and Turks and Caicos Islands.

August 19, 1974

Olympia Gallery Opens

Jamaican collector A.D. Scott (a founder of CJAA) opened the Olympia International Art Centre on August 19,1974 near the University of the West Indies campus. An apartment and hotel complex in addition to the art gallery, Olympia housed Scott’s personal collection. Olympia’s first exhibition was co-curated by David Boxer in 1988 and the majority of works were donated to the National Gallery Jamaica in 1989. (Poupeye, n.d. ) Olympia still operates today as an active exhibition space, art supply store, and art framing shop.

November 14, 1974

The National Gallery of Jamaica opened

The National Gallery of Jamaica is officially opened at Devon House on November 14, 1974, as a division of the Institute of Jamaica and is the oldest and largest public art museum in the English speaking Caribbean. In 1972, under Prime Minister Michael Manley, a committee was established comprised of individuals from the business and art sector including Sam Hart, Vayden McMorris, Edna Manley, Ralph Thompson, Bernard Lewis (who then headed the Institute of Jamaica), Osmond Watson and Karl “Jerry” Craig (then the Director of the Jamaica School of Art) with Maurice Facey appointed chairman. Important to note is that The National Gallery was established as a limited liability company with Maurice Facey as the sole shareholder as opposed to being established by an act of parliament typical of public cultural institutions. As a result, non-profitable, charitable status was not acquired. (Poupeye, 2024)

Photo Source

1975

The Jamaican Artists and Crafstman Guild Established

1975: The Jamaican Artists and Craftsman Guild (JACG) was established as an independent body to represent all Jamaican artists with a focus on education, promotion, and welfare. (Smith, M. 2003. Visual art and community-based education in Jamaica. Edna Manley College Archives.)