Remembering Bookmann geocites 2004 – Watamula, Curaçoa

We are descendants of Savages

glanda

Algemeen Dagblad Caribische Editie Front Page 7th October. 2000

Watamula International Artists’ Workshop Curaçoa, held from September / October 2000 at Landhuis Knip, once a plantation home and the site of a major slave revolt in 1795. It was organised under the Triangle Trust and by artists from Curaçoa and Aruba. Co-ordinated by Glenda Heylinger and Caribbean Contemporary Arts . 20 artists participated, mostly from the Caribbean region. Set at a historical location, much of the work produced at Landhuis Knip was influenced by its history.

2009-07-26_180744

1. The performance: Yoke Performers: Glenda Heylinger and Tony Monsanto
Constructed a Horket using natural elements found at Knipe, Curaçao

2. Used graffiti on the walls to mark the landhuis (water based )

I came with no knowledge of the historic meaning of the Landhuis on the island of Curaçao. As the project  it progressed, it awoken the emotions of a peoples. Their voices and words spoke through art in recognition to what happen.

View Transcript 2000 below

The open field towards the sea: Pride

West of Landhuis first building:
misey music sickness
indjury
spanard
soldiers
We are descendants of Savages

belowlauhter
detention ( hand Bound)
colour of skin black/white

third buildin
treatment
death
pleasure
medicine

landhuis knip 1693-1863
upper level
Karner
ieri
Ziekte
Heimee
Bijbel

speelkamer
onivangstzaal
Eenzaamheid
Beschermen
Kind

Kamer
Ruzie
Liefje
Koots
letter

near the bell
aner
summon
church
bawl

open field near Landhuis
Caribisch
sufri
Kibra su spritu
vervlosk t nederlands
slaughter like pigs
treatise
harsh flowers

watamulawall

Watamula Artist Workshop 2000


3 comments so far

  1. Ryan Oduber on

    It was indeed fantastic!
    Greetings to you Mr. Bolai
    Ryan
    Aruba

  2. tony monsanto on

    Hi, Richard, nice to see that you remember Watamula, for a lot of us and you, I suppose it was a groundbreaking experience, as many artists from abroad as well as from curacao did not realize the importance of Landhuis Knip and the rebellion of slaves that started at Landhuis knip in 1795 to free all slaves in our island, but subsequently failed regrettably.
    I enjoyed the performance with Glenda Heiliger and noticed afterwards that many critics and artlovers in the caribbean loved the photograghs of this performance and indeed recognize the importance of it in the context of the history of art in our region.
    I was delighted to hear that the known art curator from Costa Rica, virginia perez ratton had shown the photogragh of this performance on a symposium at Martinique in december of 2008.

    Tony Monsanto, Curacao

  3. Ryan on

    Hi RIchard and Tony!
    Nice to hear some Watamula stories. I am in the verge of making a Watamula documentary with the footage I shot at the workshop. It would be great to have pictures to use in the documentary!
    Tony, could I interview you about the workshop and the experience and comments om how “Tony” is doing now, after Watamula. Would have liked to do the same to Mr. Bolai… but to far.
    Tony can I have your email?
    ryanoduber@gmail.com – I will probably ne in Curacao in May for the interviews! Still waiting on some funds…

    Saludos

    Ryan


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