As Antigua and Barbuda prepares to welcome the Commonwealth Heads of Government Meeting (CHOGM), local commentator James E. Knight has raised urgent questions about the state of the nation’s public art and memorials, pointing out that long-time residents have grown desensitized to low-quality, disrespectful displays that will stand out starkly to first-time visiting delegates and guests. Knight argues that while it remains unclear whether the local Bureau of Standards holds formal oversight over public monuments, billboards and outdoor artistic displays, it is long past time for local authorities to audit and upgrade prominent works in the capital city of St. John’s ahead of the high-profile international gathering.
Knight’s first critique targets a garish, poorly executed sculpture on the north bank of Country Pond, which portrays a family participating in Carnival masquerade. The piece, he argues, falls far short of the standard required to showcase Antigua and Barbuda’s rich artistic heritage in sculpting and costume design, coming off as tacky and unrepresentative of local creative excellence.
A far more consequential misstep, Knight contends, surrounds the memorial bust of V.C. Bird, widely celebrated as the Father of the Nation and Antigua and Barbuda’s first prime minister. More than a decade ago, a well-meaning but misguided parliamentarian ordered the original, critically acclaimed sculptural work altered to have bright, cartoonish paint applied to its surface, transforming the nuanced, powerful portrait into a cutesy, Disney-esque caricature. In addition to defacing the original artistry, Knight notes the plaque beneath the bust uses childish, unprofessional lettering – a flaw that is easily remedied, as local vendors can produce high-quality custom plaques in minutes, even for free for such a high-profile memorial, given that it only requires two short words: “Antigua” on one plaque and “Barbuda” on the second. A simple restoration with paint remover and polishing, Knight says, would bring the original masterpiece back to its proper dignity.
The most longstanding and serious grievance Knight raises centers on the existing memorial depiction of King Court (also known as Prince Klaas), one of Antigua and Barbuda’s revered national heroes who led a historic slave rebellion. The current portrayal depicts the hero as a small-statured, weak figure with a sullen, unhappy expression, a far cry from the bold, defiant leader who organized one of the most significant acts of resistance against colonial slavery in the region. Knight points out that even infamous European colonial figures in the Caribbean are regularly memorialized with noble, striking portrayals, yet the nation’s own Black liberation hero is reduced to an unimposing, uninspiring figure that fails to honor his legacy. Unlike the quick fixes possible for the V.C. Bird memorial, this error cannot be corrected before CHOGM begins, but Knight calls for a long-term overhaul: a public competition inviting local artists to submit new depictions of King Court that accurately reflect his heritage, age at execution, and legacy, creating a portrait that captures the dignified defiance and sharp strategic leadership that defined his rebellion. The new work, he argues, would serve as a fitting inspiration for future generations, instead of the inaccurate, disrespectful portrayal that stands today.