Artists Sherlann Peters and Maria Diaz could not help but shed tears of joy when, on June 18, one of their biggest dreams was realised with the unveiling of the Yoruba Village Monument.
Commissioned by the Emancipation Support Committee (ESC), the monument was unveiled at the Yoruba Village Square, east Port of Spain, during the Yoruba Village Drum Festival. It is a tribute to the Yoruba Village Community which has made significant contributions to the social, economic and cultural landscape of TT.
The sculptors said they dreamt of building a monument one day and leaving a permanent mark on national soil. It is even more meaningful to them because they understand what the sculpture means to the area and the country. It is also a great achievement for young female artists as most of the pieces in the capital were done by men.
“It was surreal to do the largest statue in east Port of Spain,” said Peters who designed the monument.
[caption id="attachment_961839" align="alignnone" width="1024"] Artists Maria Diaz, left, and Sherlann Peters plan to collaborate on more monuments, possibly of local icons. Photo by Angelo Marcelle[/caption]
Made out of sculpting putty and painted with bronze oxidising paints and a patina, the monument is that of a Yoruba male and female, identified as such by the facial scarification.
Constructed by Diaz, 26, the female figure is a nurturing one. In her hands she holds a calabash bowl full of black-eyed peas with a plant sprouting from it, signifying new growth and the continuation of African culture and heritage. She is adorned in a gele (head wrap), cowrie shells and an anchor pendant around her neck. And since the national instrument came from what used to be know as Yoruba Village, the design of her collar is that of the steelpan while her earrings are steelpan sticks.
The male figure was constructed by 42-year-old Peters. He is dressed in African garb and hat (an aso oke agbada and abeti aja), and wears a sankofa pendant. The cola.siu.edu website translates “sankofa” as “go back to the past and bring forward that which is useful” while berea.edu translates it as “it is not taboo to fetch what is at risk of being left behind.”
He is also playing a talking drum and stick and Peters explained, “The talking drums were banned during slavery, but from that ban came the evolution of the steelpan. He is like the father protecting everyone and he’s bringing up the rear with the music and the rhythm. He represents the festival, the vibe of the area which is appropriate as we see the influence of African music of soca and calypso.”
Peters told WMN the ESC contacted local artist Kenwyn Crichlow about the project three years ago and he recommended her as she was one of his former students at UWI. Excited and ready to meet any challenge, she contacted Diaz, a fellow sculptor and friend of eight years to partner with her on the project.
[caption id="attachment_961828" align="alignnone" width="1024"] Concrete Throne, a sculpture by artist Maria Diaz.[/caption]
And they are perf
