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  <url>
    <loc>https://www.digitaljunkanoo.com/junkanoo-writing</loc>
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    <priority>0.75</priority>
    <lastmod>2023-08-08</lastmod>
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  <url>
    <loc>https://www.digitaljunkanoo.com/junkanoo-writing/camille-chedda-colonialism</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2023-08-08</lastmod>
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      <image:title>Junkanoo Processional - Un/cementing Jamaica’s Architecture of Colonialism: Visual Artist Camille Chedda’s Blueprints - Make it stand out</image:title>
      <image:caption>The first installation of “Views” was on display in Kassel, Germany, from June 18 to Sept. 25, 2022, as part of “documenta fifteen,” an international contemporary art exhibition that takes place every five years. Photo credit: Demar Brackenridge.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/1689972985075-THF8G0IDAXJPCWCYN3OA/chedda-camille-under-construction-1.jpg</image:loc>
      <image:title>Junkanoo Processional - Un/cementing Jamaica’s Architecture of Colonialism: Visual Artist Camille Chedda’s Blueprints - "Under Construction"</image:title>
      <image:caption>Chedda’s 2017 sketches, comprised of charcoal on paper, are loosely based on images from videos of a viral 2015 Jamaican dancehall trend. Photo courtesy of the artist and caption adapted from the artist’s.</image:caption>
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      <image:title>Junkanoo Processional - Un/cementing Jamaica’s Architecture of Colonialism: Visual Artist Camille Chedda’s Blueprints - "Catastrophe of Liberation"</image:title>
      <image:caption>Chedda’s 2017 sketches, comprised of charcoal on paper, are loosely based on images from videos of a viral 2015 Jamaican dancehall trend. Photo courtesy of the artist and caption adapted from the artist’s.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Junkanoo Processional - Un/cementing Jamaica’s Architecture of Colonialism: Visual Artist Camille Chedda’s Blueprints - Make it stand out</image:title>
      <image:caption>"Rose Hall Jamaica Photo D Ramey Logan.jpg” by Don Ramey Logan, CC-BY-SA 3.0, from Wikimedia Commons.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/20204132-e5c4-4e9d-8e35-60f20cd987c2/Hakewill%2C_A_Picturesque_Tour_of_the_Island_of_Jamaica%2C_Plate_20.jpg</image:loc>
      <image:title>Junkanoo Processional - Un/cementing Jamaica’s Architecture of Colonialism: Visual Artist Camille Chedda’s Blueprints - Make it stand out</image:title>
      <image:caption>This warm-toned illustration of towering white, gates opening toward the distant Rose Hall Great House was published in 1825 in James Hakewill’s “A Picturesque Tour of the Island of Jamaica, From Drawings Made in the Years 1820 and 1821,” in which the English architect documented and described an array of edifices and monuments on the island at the time.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/ccaac4ea-c867-469b-9c05-cd3a6ac33ddf/Rose-Hall-Before-Reconstruction.jpeg</image:loc>
      <image:title>Junkanoo Processional - Un/cementing Jamaica’s Architecture of Colonialism: Visual Artist Camille Chedda’s Blueprints - Make it stand out</image:title>
      <image:caption>“Rose Hall Before Reconstruction” by Jasonbook99, CC BY-SA 3.0, from Wikimedia Commons.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/ed45cd53-3572-4d79-a155-6d96d707d1ff/Views+2+Photo+by+Kevaughn+Beckford+%28compressed%29.jpg</image:loc>
      <image:title>Junkanoo Processional - Un/cementing Jamaica’s Architecture of Colonialism: Visual Artist Camille Chedda’s Blueprints - Make it stand out</image:title>
      <image:caption>“View, 2,” the second iteration of Chedda’s “Views” was on display at the December 2022 installment of the “…and I resumed the struggle” exhibition series. The wooden blocks hung from the ceiling, forcing viewers to engage them. Photo credit: Kevaughn Beckford.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/8ff9113b-115e-4b2c-8d76-f1712f653c44/Views+1+detail3.jpg</image:loc>
      <image:title>Junkanoo Processional - Un/cementing Jamaica’s Architecture of Colonialism: Visual Artist Camille Chedda’s Blueprints - Make it stand out</image:title>
      <image:caption>Chedda’s “Views” fits images of Rose Hall’s manicured golf courses, plantation estates, coconut trees and sugar plantations into the windows of the blocks, turning the metaphor for construction into a frame. Photo credit: Demar Brackenridge.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/1689976165501-C5418RKTYH4SII1A6USW/Untitled+Installation+2020+Photo+by+Charles+Allen.jpg</image:loc>
      <image:title>Junkanoo Processional - Un/cementing Jamaica’s Architecture of Colonialism: Visual Artist Camille Chedda’s Blueprints - "Untitled"</image:title>
      <image:caption>“Untitled” debuted at the inaugural exhibition of the “…and I resumed the struggle” series at the Olympia Gallery in 2020. The cinder blocks act as windows showcasing images of Chedda, the Rose Hall Great House and other Jamaican iconography. Photo credit: Charles Allen.</image:caption>
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      <image:title>Junkanoo Processional - Un/cementing Jamaica’s Architecture of Colonialism: Visual Artist Camille Chedda’s Blueprints - "We all live under the same sky..."</image:title>
      <image:caption>The cement block-laden collage of Jamaican buildings and landscapes was on display as part of the third “…and I resume the struggle” exhibition that ran from December 2021 to January 2022. Photo credit: Franz Marzouca.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/b0775b58-29d5-48c4-8bcf-979200e98a04/Rebuild.+Photo+by+L.jpg</image:loc>
      <image:title>Junkanoo Processional - Un/cementing Jamaica’s Architecture of Colonialism: Visual Artist Camille Chedda’s Blueprints - Make it stand out</image:title>
      <image:caption>Meant to remind the viewer of both rubble and a pyramidal shrine, Chedda debuted the first iteration of “Rebuild” in 2015 at the Ghetto Biennale in Port-au-Prince Haiti. Photo credit: L and caption adapted from the artist’s.</image:caption>
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      <image:title>Junkanoo Processional - Un/cementing Jamaica’s Architecture of Colonialism: Visual Artist Camille Chedda’s Blueprints - Make it stand out</image:title>
      <image:caption>Camille Chedda, Portrait. Photo courtesy of the artist.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.digitaljunkanoo.com/junkanoo-writing/on-the-brink-nadia-huggins</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2023-06-17</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/474afc21-9c1c-4653-a54b-4c7f958d4526/940A3A9F-12F9-48AA-9756-4D101519644E_1_105_c.jpeg</image:loc>
      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition - Make it stand out</image:title>
      <image:caption>“Coral &amp; Ash” opened to the New York University community and almost 200 RSVP’d guests on April 25. Photo credit to Manuel Molina Martagón unless otherwise stated.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition</image:title>
      <image:caption>The main wall of the exhibition features work from Huggins’ “Transformations,” “Circa no future” and coral surveys.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/1684877575064-Z84RVITXNGNEQQ6SPX8S/14E93B33-82C6-446D-BB53-C372665FDD56_1_105_c.jpeg</image:loc>
      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition</image:title>
      <image:caption>The main wall of the exhibition features work from Huggins’ “Transformations,” “Circa no future” and coral surveys.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/1aa8e18a-432c-4623-b36e-b30f58045440/110C162F-8721-4D47-9643-E5BB2FB974C8_1_105_c.jpeg</image:loc>
      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition - Make it stand out</image:title>
      <image:caption>Lead curator Dantaé Elliott, a PhD candidate in NYU’s Spanish and Portuguese Languages and Literature department, speaks with guests in front of the main exhibition wall during the “Coral &amp; Ash” opening.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/23b2f2f4-4759-4c00-966c-671a2427594c/4814D705-97D2-46F4-8475-77C45E6217FD.jpeg</image:loc>
      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition - Make it stand out</image:title>
      <image:caption>Hemispheric Institute Director and NYU Associate Professor of Comparative Literature and Spanish and Portuguese Ana Dopico speaks during the opening reception.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/1684877228861-W6QC5Y9XLMLXZAPP1EKX/L1240430.JPG</image:loc>
      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition</image:title>
      <image:caption>“Coral &amp; Ash” presents Huggins conceptual and documentary photography spanning the last nine years, connected in theme by the images’ relationships to the environmental composition and destruction of the Caribbean island. Photo credit: Nadia Huggins.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/1684877296089-2DLD0Z26BMYMI556GA8U/L1240433.JPG</image:loc>
      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition</image:title>
      <image:caption>“Coral &amp; Ash” presents Huggins conceptual and documentary photography spanning the last nine years, connected in theme by the images’ relationships to the environmental composition and destruction of the Caribbean island. Photo credit: Nadia Huggins.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/1684877231187-ZLGDB8JOQKSRRHT57EML/L1240483.JPG</image:loc>
      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition</image:title>
      <image:caption>“Coral &amp; Ash” presents Huggins conceptual and documentary photography spanning the last nine years, connected in theme by the images’ relationships to the environmental composition and destruction of the Caribbean island. Photo credit: Nadia Huggins.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/1684877232478-246W8KFQLO7IBE8P81GN/L1240490.JPG</image:loc>
      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition</image:title>
      <image:caption>“Coral &amp; Ash” presents Huggins conceptual and documentary photography spanning the last nine years, connected in theme by the images’ relationships to the environmental composition and destruction of the Caribbean island. Photo credit: Nadia Huggins.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/1684802256211-OVL6SXBM16FXS5USO4IO/BABC7C04-FDFB-479C-9946-90D2D1FB334F_1_105_c.jpeg</image:loc>
      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition</image:title>
      <image:caption>Visitors mingle on the first floor of the KJCC during the April 25 reception.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/1684802256058-VZKINP0OA1A2IT6GQ2ZP/F785EDB2-DCD9-465C-8EDB-3C9BC84B0574_1_105_c.jpeg</image:loc>
      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition</image:title>
      <image:caption>Visitors mingle on the first floor of the KJCC during the April 25 reception.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/1684803433992-RRZMLVKNYO0N8DJBIH4Q/B2E570E2-D791-4CD9-9B69-26A8D279AFD4_1_105_c.jpeg</image:loc>
      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition</image:title>
      <image:caption>Attendees gather around the KJCC’s atrium as the speakers kick off the event.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition</image:title>
      <image:caption>Vinyl prints of work from Huggins’ “Circa no Future” cover three windows of the KJCC’s atrium.</image:caption>
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      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition</image:title>
      <image:caption>Huggins speaks with a guest during the exhibition’s opening reception.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/37394754-f14a-4d81-b4ef-683d9d1ed3d4/4956B060-BDF4-4183-B24E-F0557A508E7F.jpeg</image:loc>
      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition - Make it stand out</image:title>
      <image:caption>Spoken-word poet Yaissa Jiménez performed a piece from her new poetry series, “Poemas de Protección.”</image:caption>
    </image:image>
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      <image:title>Junkanoo Processional - On the Brink: Nadia Huggins’ “Coral &amp;amp; Ash” Exhibition - Make it stand out</image:title>
      <image:caption>Huggins welcomes the attendees and introduces the exhibition during the “Coral &amp; Ash” opening reception.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.digitaljunkanoo.com/junkanoo-writing/shouts-in-caruaru</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2023-06-17</lastmod>
    <image:image>
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      <image:title>Junkanoo Processional - Shouts in Caruaru: Art Against A White Revolution - Make it stand out</image:title>
      <image:caption>Lira’s “Quantos Calos,” a banner created in 2018, asks viewers, “How many calluses of your black hand hold together a white revolution?” when translated into English. Photos courtesy of Ana Lira unless otherwise stated.</image:caption>
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      <image:title>Junkanoo Processional - Shouts in Caruaru: Art Against A White Revolution - Make it stand out</image:title>
      <image:caption>Não-Dito/Unsaid documented a public program in Belem. Top left: Coletivo Pitiú presenting their work in our weekly meeting. Top right: a meeting focused on hearing women who work in the traditional street market, Ver-O-Peso, in Belem (PA) about the government intervention in the area. Bottom left: receiving artist Arthur Leandro/Tatá Kinamboji to discuss impacts of the violence that affects Afrobrazilian territories in Amazonia. Bottom right: an experience to dance the word “collective” conducted by Nego Rai, from Centro Cultural Coisas de Negro, during a visit to Icoaraci district, a traditional Afrobrazilian region in Belem. Caption courtesy of the artist.</image:caption>
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      <image:title>Junkanoo Processional - Shouts in Caruaru: Art Against A White Revolution - Make it stand out</image:title>
      <image:caption>Stylized portrait of Ana Lira, 2020.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Junkanoo Processional - Shouts in Caruaru: Art Against A White Revolution - Cidades Visuais</image:title>
      <image:caption>Camaragibe, Pernambuco, Brazil. The local government removed an entire community during the Brazilian World Cup, 2014. The residents decided to discuss personal memories and the impact of public politics inside of the construction site. Caption courtesy of the artist.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/1682716502842-3GAK4ARXSXSXIHH9YR5C/image3.png</image:loc>
      <image:title>Junkanoo Processional - Shouts in Caruaru: Art Against A White Revolution - Cidades Visuais</image:title>
      <image:caption>Aracaju, Sergipe, Brazil. The workshop and experiences were produced together with residents of the second oldest quilombola urban community in Brazil, located in Maloca district. The second experience was carried by students from Coqueiral district, a beautiful community near the river that was affected by gentrification process. 2012. Caption courtesy of the artist.</image:caption>
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    <image:image>
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      <image:title>Junkanoo Processional - Shouts in Caruaru: Art Against A White Revolution</image:title>
    </image:image>
    <image:image>
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      <image:title>Junkanoo Processional - Shouts in Caruaru: Art Against A White Revolution</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/74c9f1fd-6e2a-4413-8f49-ec738e43d4a2/image10.png</image:loc>
      <image:title>Junkanoo Processional - Shouts in Caruaru: Art Against A White Revolution - Make it stand out</image:title>
      <image:caption>Promotional image for Project Chama, Ana Lira, 2020.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Junkanoo Processional - Shouts in Caruaru: Art Against A White Revolution - Make it stand out</image:title>
      <image:caption>Parte da Familia focused on the contemporary strategies of slavery that persists in Brazil. The group created a series of posters to be fixed in the streets. Caption adapted from the artist’s.</image:caption>
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    <image:image>
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      <image:title>Junkanoo Processional - Shouts in Caruaru: Art Against A White Revolution - Make it stand out</image:title>
      <image:caption>Avalição Grátis/Free Evaluation (2015- ) is work conceived from researching commercial street signs, started by Josivan Rodrigues with sign painted Odon’s help in Recife in 2015. In Recife, it was exhibited as sign where the following sentence is read: “Compro e Vendo Voto. Avalição Grátis” (I purchase and sell votes. Free quotation), painted by the Carioca sign painter. Placed in front of the gallery, the sign provoked the most divisive reactions, from indignation with the fact that someone was advertising the purchase and sell of votes to people entering the gallery to negotiate their votes for the coming elections. Caption adapted from the artist’s.</image:caption>
    </image:image>
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      <image:title>Junkanoo Processional - Performance Artist Jodie Lyn-Kee-Chow’s  Future Memory Masquerade - Make it stand out</image:title>
      <image:caption>Performance artist Jodie Lyn-Kee-Chow stands in front of a wall displaying the name of the exhibition. Photo credit to Dr. Tao Leigh Goffe unless otherwise stated.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/82756a8e-32bf-4cce-8c3b-66d08c37085a/P1530295.JPG</image:loc>
      <image:title>Junkanoo Processional - Performance Artist Jodie Lyn-Kee-Chow’s  Future Memory Masquerade - Make it stand out</image:title>
      <image:caption>The Jamaican and New York State Coats of Arms appear on two tapestries at the back of the exhibition.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/1667345758092-HNON084IMWJNL90Y541L/P1530314+%282%29.JPG</image:loc>
      <image:title>Junkanoo Processional - Performance Artist Jodie Lyn-Kee-Chow’s  Future Memory Masquerade - Make it stand out</image:title>
      <image:caption>Lyn-Kee-Chow’s Jack(ie) in the Green Character dangles in front of a series of character sketches from the early stages of the “Junkanooacome” project.</image:caption>
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      <image:title>Junkanoo Processional - Performance Artist Jodie Lyn-Kee-Chow’s  Future Memory Masquerade - Make it stand out</image:title>
      <image:caption>The red dress represents the Red, Set-Girls characters in Jamaican junkanoo. Lyn-Kee-Chow based the assemblage on Isaac Mendes Belisario’s 1837 lithograph “Red, Set-Girls and Jack-in-the-Green.”</image:caption>
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      <image:title>Junkanoo Processional - Performance Artist Jodie Lyn-Kee-Chow’s  Future Memory Masquerade - Make it stand out</image:title>
      <image:caption>Lyn-Kee-Chow’s reimaginings of three Jamaican junkanoo characters — Horse Head, Pitchy Patchy and Wild Indian — stand in the center of the exhibition.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/634506a35c8dd177a27779b1/1666978988514-QX542G2MDQNTBBITTY8X/P1530307.JPG</image:loc>
      <image:title>Junkanoo Processional - Performance Artist Jodie Lyn-Kee-Chow’s  Future Memory Masquerade - "Butterdollarfly"</image:title>
      <image:caption>Jodie Lyn-Kee-Chow’s “Butterdollarfly” was one of the non-costume works the curators selected for the exhibition. The artist created the piece for a 2012 conference celebrating the 50th independence of Jamaica.</image:caption>
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      <image:title>Junkanoo Processional - Performance Artist Jodie Lyn-Kee-Chow’s  Future Memory Masquerade - House Head Hat</image:title>
      <image:caption>The White House hat that Jodie Lyn-Kee-Chow dons during her “Junkanooacome” performances as the House Head character sits on a chair below an earlier sketch of its costume.</image:caption>
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      <image:title>Junkanoo Processional - Performance Artist Jodie Lyn-Kee-Chow’s  Future Memory Masquerade - Make it stand out</image:title>
      <image:caption>"Jaw Bone, or House John Canoe" is a lithograph from Jewish Jamaican artist Isaac Mendes Belisario’s 1837-38 series “Sketches of Character, In Illustration of the Habits, Occupation, and Costume of the Negro Population in the Island of Jamaica.” Photo from the Slavery Images: A Visual Record of the African Slave Trade and Slave Life in the Early African Diaspora database.</image:caption>
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      <image:title>Junkanoo Processional - Performance Artist Jodie Lyn-Kee-Chow’s  Future Memory Masquerade - Make it stand out</image:title>
      <image:caption>A minimalist recreation of a ship carrying enslaved Africans saved from a previous “Junkanooacome” performance at Asbury Park in New Jersey sits on a ledge.</image:caption>
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