The History of Jamaica Festival
“What a Bam Bam!”
Few phrases capture the vibrant spirit of Jamaica quite like “bam bam,” the same words immortalized in 1966 by Toots and the Maytals in their winning Festival Song. Fittingly, it’s also the perfect phrase to describe Jamaica Festival — a national celebration of local talent, cultural pride, and community spirit.
Founded in the early years after independence, Jamaica Festival has served as a powerful platform for showcasing “Things Jamaican” — our music, art, dance, language, and ingenuity. More than a series of performances and competitions, it’s a movement that has helped shape Jamaica’s post-independence identity.
The Origins: Festival as National Development
In the years following independence in 1962, the government, led by then-Minister of Development and Welfare Edward Seaga, saw cultural development as essential to nation-building. Seaga envisioned the festival as a unifying experience to give Jamaicans a sense of self, of pride in their cultural heritage, and of direction for the future. It wasn’t just entertainment — it was a tool of national empowerment.
While the first official Jamaica Festival was staged in 1963, it built on the energy and excitement of the 1962 Independence celebrations. It was designed to commemorate independence not just as a political event, but as a cultural awakening. That first festival planted the seeds of what would grow into an annual, islandwide celebration.
Building the Festival Framework
By 1968, efforts were made to formalize the festival’s structure. Edward Seaga introduced legislation in Parliament to establish the Jamaica Festival Commission, which was passed unanimously. In 1980, the Commission became the Jamaica Cultural Development Commission (JCDC) — a name reflecting the broader mission of cultural growth. The JCDC has since continued to organize Jamaica Festival and other national celebrations, including Independence Day activities.
Deep Roots in the Creative Arts
Jamaica’s tradition of arts competitions dates back to the late 19th century. The Institute of Jamaica staged its first creative arts competition in 1897 to mark Queen Victoria’s Diamond Jubilee. Competitions in music, poetry, essay writing, and craftsmanship flourished until the 1907 earthquake. The early 20th century saw the rise of elocution contests, eisteddfods, and music festivals organized by institutions such as Mico College, St. George’s College, and the Music Society of Jamaica.
A young Marcus Garvey even participated in one of these early contests in 1910, placing third in elocution while representing his parish of St. Ann.
In the 1930s, Jamaica Welfare Ltd. began organizing village-level competitions in art, drama, and traditional crafts. Mico-trained teachers carried this creative momentum across the island. However, these competitions remained largely Kingston-based until local parishes like Portland (1946), St. Catherine (1949), St. Ann (1951), and Manchester (1954) began staging their own festivals.
The Growth of a Movement
By 1955, the arts movement had become islandwide and year-round, with parish-level competitions feeding into national finals held in Kingston. The popular Jamaica Bandwagon — a traveling cultural parade featuring music and performances — brought the arts directly to the people in every parish capital.
Key figures like Eric Coverly, Robert Verity, and Louise Bennett played crucial roles in organizing and expanding the festival’s offerings. Bennett, in particular, championed Jamaican language and culture, and in 1977, was honored with the Order of Distinction for her contributions to theatre and the arts.
Despite this growth, it wasn’t until 1963 that a dedicated national organizational structure was implemented. That year, the Festival Office was created under Seaga’s ministry, and in 1964, Hugh Nash — who would become synonymous with Jamaica Festival — was appointed director. Nash led the festival through several important phases and was later honored with the Order of Distinction in 1983.
A Community Effort
Under Nash’s direction, the festival became a nationwide effort, powered by thousands of volunteers. Each parish was divided into Festival Zones, each with its own committee tasked with encouraging participation in music, dance, speech, and the culinary arts. The beloved Festival Song Competition was officially added in 1966, quickly becoming a cultural staple.
Nash recalled the dynamic evaluation seminars held every September, where creative minds like Rex Nettleford, Dr. Joyce Robinson, and Seaga himself would gather, brainstorm, and refine the festival’s structure and offerings.
Importantly, the festival was scheduled to coincide with summer holidays and the Denbigh Agricultural Show, allowing for increased participation from Jamaicans abroad and boosting cultural tourism.
Seaga’s Vision Realized
Looking back, Edward Seaga believed the festival had succeeded in its mission — to preserve, promote, and develop Jamaica’s cultural heritage. More than a showcase, it opened doors for youth across the island, offering them platforms for creative expression and personal growth.
Today, Jamaica Festival stands as a cherished cultural institution. It celebrates the past, nurtures the present, and inspires the future — a true “bam bam” of Jamaican culture that continues to resonate across generations.
Written in honor of the enduring legacy of Jamaica Festival and the creative spirit of the Jamaican people.
