The discovery of a 1977 BBC documentary episode, "Everyman," proved to be a pivotal moment for British-Jamaican filmmaker and artist Joseph Douglas Elmhirst. The film chronicled the life of his maternal grandfather, Reverend David Douglas, a Jamaican Pentecostal pastor in Watford, as he navigated the challenges of finding a place to preach. This unexpected glimpse into his grandfather’s life, whom Elmhirst had never seen a photograph of prior, ignited a deep fascination with the intersection of faith and political activism. "The first thing my grandfather said in the documentary was a quote by James Baldwin, and that really shocked me as I had assumed he would be much more conservative," Elmhirst shared with Dazed. "To learn that he was really engaged and actively trying to create political spaces for Caribbean people in the UK was inspiring. I’ve been very lucky to inherit that documentary as a filmmaker." This profound encounter has become the cornerstone of Elmhirst’s artistic practice, fostering a continuous dialogue between past and present. Elmhirst’s subsequent creative endeavors reflect this foundational interest. His short film "Mada" explored three generations of a Jamaican family over three days, while "Burnt Milk" delved into the experiences of an 1980s immigrant feeling alienated in London, haunted by visions of their homeland. His latest project, the publication titled "Duppy," co-edited with academic Jovan Scott Lewis, represents a significant expansion of this engagement with memory, history, and intergenerational dialogue. The title itself, derived from the Jamaican term for a ghost or spirit, hints at the publication’s ambition to unearth and give form to narratives that have been historically obscured or overlooked. Unearthing "Duppies": Reclaiming Caribbean Narratives "Duppy" is conceptualized as a collection of "ghost stories" in the broadest sense, aiming to reclaim and revitalize the tangible forms of cultural production that once fueled intellectual discourse within the Caribbean and its diaspora. Elmhirst’s research process involved a deep dive into historical archives, particularly newspapers and journals such as the West Indian Gazette, a prominent publication based in Brixton, and Savacou. These historical sources reveal a vibrant landscape where politics, music, and art converged, fostering a rich tapestry of dialogue. "There was so much dialogue happening in print, but over the last thirty years we’ve moved away from the medium," Elmhirst observed. "In a country that has such a complex history as Jamaica, but so little recorded history, it feels really important to create something tangible." This sentiment underscores the urgency of preserving and actively engaging with the material remnants of Caribbean cultural and intellectual life, especially in the face of a perceived decline in print-based discourse. The publication features a diverse array of contributions, including speculative correspondences penned by Elmhirst’s mother, Miss Ronnie, offering a deeply personal layer to the collection. It also includes an interview between artist Alvaro Barrington and fashion designer Jawara Alleyne, providing insights into contemporary artistic practices. Furthermore, "Duppy" incorporates conversations with community leaders, such as Richard Currie, a notable advocate for Indigenous rights in Jamaica, broadening the scope of voices and perspectives represented. These contributions collectively serve as acts of retrieval, framing history not as a static entity but as a dynamic site for contemporary creation and reinterpretation. Elmhirst’s assertion that he seeks contributors who "connect our past to the present" highlights a deliberate effort to subvert and challenge Western-centric perceptions of Jamaica and the wider Caribbean. Visual Storytelling: Challenging Perceptions Through Photography The photographic commissions within "Duppy" are equally instrumental in challenging established conceptions of the Caribbean by intentionally weaving together disparate temporalities. A notable series, "A Hidden Man," by Jamaican-based artists Danielle Myers and Kadeem Rodgers, pays homage to the work of Trinidadian artist Boscoe Holder. Holder’s paintings, which often depicted male bodies in subtly homoerotic states, were seldom exhibited due to prevailing conservative attitudes. Myers and Rodgers sought to resurrect these images in a modern context, aiming to "counteract some of the conservative notions that led to them being hidden away," as Elmhirst explained. This photographic project serves as a powerful example of how contemporary art can engage with historical artistic legacies to challenge societal norms and promote greater inclusivity and visibility for marginalized representations. Another significant contribution is Luca Khouri’s photographic and film series, "What Remains." This body of work explores the profound connection between people and land, set against the backdrop of the Jamaican landscape. Khouri’s languid photographs capture women navigating spaces imbued with personal and collective memory. Notably, the series includes portraits of trans women, reflecting Khouri’s ongoing commitment to documenting and amplifying the voices of trans communities, who are frequently excluded from dominant visual narratives of Jamaica. This focus on marginalized communities within the publication underscores its broader aim of presenting a more nuanced and inclusive representation of Caribbean identity. Materiality and Preservation: A Tactile Engagement with History The materiality of "Duppy" is a deliberate and integral aspect of its conceptual framework. Designed by Bryce Carrington, the publication features hand-drawn typography and illustrations that evoke nzu chalk, a material historically used in spiritual practices across Nigeria and the Caribbean. This stylistic choice imbues the book with a sense of cultural resonance and historical depth. Furthermore, the use of newsprint format for the publication is a conscious decision by Elmhirst. He explained, "I wanted the fragility of the newsprint to reflect the fragility of preservation in that region." This choice compels readers to engage with the book in a more careful and deliberate manner, mirroring the challenges of preserving cultural heritage in regions with complex and often under-documented histories. For Elmhirst, who has spent much of his career in filmmaking, the transition to creating a tangible object like a book was a deeply emotional experience. He expressed admiration for the physical relationship artists have with their work, stating, "I admired the physical relationship my friends who are painters and sculptors have with their work. You can’t hold images on a screen, and I didn’t realise how emotional I would find it, to be able to finally hold something I created in my hands." This sentiment highlights the unique value of physical media in fostering a deeper connection to creative output and the historical narratives it seeks to convey. Historical Context and Broader Implications The publication of "Duppy" arrives at a time when there is a growing global interest in decolonizing narratives and re-examining historical accounts from marginalized perspectives. The Caribbean, with its rich and complex history shaped by colonialism, migration, and resistance, is a crucial site for such critical engagement. Reverend David Douglas’s struggle in the 1970s to establish a space for his congregation in the UK reflects the broader challenges faced by early Caribbean migrants in integrating into British society and establishing their cultural and religious institutions. His proactive approach, aligning faith with political agency, as evidenced by his quote from James Baldwin, speaks to a tradition of intellectual and social activism within the diaspora that "Duppy" seeks to celebrate and amplify. The very act of producing "Duppy" can be seen as a response to a historical underrepresentation and misrepresentation of Caribbean experiences in mainstream media and academic discourse. By curating contributions that explore themes of memory, identity, spirituality, and resistance, Elmhirst and Lewis are actively contributing to a more multifaceted understanding of the Caribbean. The inclusion of artists and thinkers from across the diaspora, from Jamaica to the UK, emphasizes the interconnectedness of these communities and the shared experiences that bind them. The publication’s emphasis on materiality and its connection to ancestral practices, such as the use of nzu chalk, further strengthens its decolonial ethos. It suggests a move away from Western-centric modes of knowledge production and towards forms of cultural expression that are deeply rooted in Caribbean epistemologies. The newsprint format, while seemingly ephemeral, serves as a potent metaphor for the precariousness of cultural preservation and the constant need for vigilance in safeguarding historical narratives. Availability and Future Impact "Duppy" is now available for pre-order through its dedicated website and will be accessible through a curated selection of prestigious stockists, including the National Gallery of Jamaica, Black Cultural Archives in London, ALÃRA in Lagos, Librairie 1909 in Paris, and Fiend in Melbourne. This strategic distribution ensures that the publication will reach a diverse and engaged audience, fostering further discussion and critical engagement with its themes. The impact of "Duppy" is likely to extend beyond its immediate readership. By providing a platform for overlooked histories and contemporary artistic responses, it contributes to a growing body of work that actively reshapes how the Caribbean is understood and represented. For aspiring filmmakers, artists, and writers from the Caribbean diaspora, "Duppy" serves as an inspiring example of how personal history can be a catalyst for broader cultural and political commentary. It underscores the enduring power of tangible cultural artifacts to connect generations, challenge dominant narratives, and preserve the vibrant, multifaceted spirit of Caribbean identity for the future. The project stands as a testament to the power of artistic inquiry in excavating the past and illuminating its relevance for the present, ensuring that the voices and stories of the "duppies" can continue to resonate. Post navigation Club Nothing (R) Ignites Brooklyn with a Fusion of Music, Community, and Innovation
