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OAS/GNT Sustainable Heritage Endorsement Programme

PHOTOVOICE PROMPT #5: Lost & Found

What do you see here? (Addressed to the whole group)

Blue jeans    –    A woman’s lower body (stomach, legs, back, buttocks)

Maroon shoes    –    Glimpse of the right hand

White beads    –    Brown skin

Blue carpet    –    Sunlight (peering through the curtain)

White curtain    –    White fridge (with three sections, not two)

Patterned linoleum    –    Colors: red, green

Why did you take this photo? (Addressed to the photographer)

To show that bell-bottom pants and pointed shoes are coming back to Grenada’s fashion scene.

What is really happening here? (Addressed to the whole group—alternatively what does the photograph represent?)

Here is a composite of ideas that both interact with and counterbalance the various symbolic representations of the “Come Back Again” photograph as they relate to life, in general, and to Grenada, in particular: modeling, fashion, posture, physical fitness, uniqueness (refrigerator), hope for cultural development, loyalty, fame, borrowed culture, focus/concentration, exposure of our culture, fixed state, maroon (hue) implies festivity/culture. Besides the above-mentioned list of topics, the bell-bottom pants were worn by sailors (in the 19 th century), and then by hippies (in the 60s and 70s), and by the rest of the world (during and after the flower-power reign up until the present). Even so, the ways in which the bell-bottoms have waltzed through these cultural revolutions is indicative of its evolutionary nature. As a fashion statement, the bell-bottom pants reveal themselves as forms of social identity and cultural solution (as in new images of low-waistlines and flaring from the knees downwards and as in “make love, not war” and “flower power”). And as an evolving article, and like the dynamic nature of culture itself, the bell-bottom is representative of a shape-shifting sensation. Moving forward, at the basic level, the photo of the side view of a woman’s backside is symbolic of Grenada’s primal urges or instincts. Also, the buttocks imply that Grenada might be struggling with a situation that has been side-lined, or have fallen by the wayside and its title “Come Back Again” refers to Grenada’s desire to re-establish an old relationship, either through a cultural, social, or financial affair. Conflictingly, the buttocks are suggestive of the ways in which Grenada is both open-minded as well as close-minded. More so, the buttocks express discipline (or control) and self-indulgence (or persuasion). Like the persuasion of casting a ballot, so too, Grenada (represented by the buttocks) is seeking acceptance from a cultural, social, or financial suitor. It is as if Grenada is trying too hard to please someone or to accommodate a situation. Capturing only the lower half of the female body in the photo signifies that Grenada’s privacy is respected and it suggests that Grenada wants the suitor to focus on a certain aspect of the situation, as in the backside, like the way in which an architect pays close attention to the details of a blueprint, prior to moving forward with a restoration or a new construction. Moreover, like a balloon, the buttocks are suggestive of overstated view of oneself. And similar to crossing a line or a bridge, highlighting only the lower physique, Grenada and its associates have come to a critical junction in their relationship, where either the glass is half-full (represented by the lower body) or half-empty (signified by the missing upper torso). And so, the invitation to come back again is filled with both a positive energy (implied by the blue hue) and a slight ambivalence (suggested by the missing upper body).

PHOTO Title: Come Back Again

Photograph Location: Victoria, St. Mark’s

Photographer: Amellia Williams

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