Guyana Cultural Association of New York Inc.Newsletter

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Guyana Cultural Association of New York Inc.Newsletter Feb 15, 2012Volume 2Issue 2

MASHRAMANIBLACK HISTORY

MONTHGuyana Cultural Association of New York Inc. Newsletter

CELEBRATING GUYANA’S CARNIVAL

2

Guyana Cultural Association of New York Inc. Newsletter

During our recent GCA 2012 media meeting, we unani-mously decided to rotate the editorial role of our monthlynewsletter. Thanks to Tangerine Clarke who exercised thatresponsibility very well during our pilot initiative. I wasassigned the editorial responsibility for the month of Feb-ruary.Firstly, I would like to take this opportunity to show appre-ciation to everyone who took time, despite the inclementweather to attend the wake held for one of our foundingmembers and hero of the Guyana Cultural Association ofNY - Godfrey Chin. That evening was packed with excite-ment and commemorated in true form his genius andexemplified his dedication and life he unselfishly portrayedduring his tenure on this earth plane. While rememberingGodfrey let us also pay tribute to Don Cornelius. A leg-end, a pioneer of Black music and black culture, who trulyprovided a means for black artists to showcase their talentsvia his TV show “Soul Train.” What an awesome legacy hehas left behind.This month marks the celebration of our diverse culturalheritage in Guyana. Trinidad and most neighboring coun-tries refer to this artistic extravaganza as Carnival. Howeversince February 1970, Mashramani has been the major cul-tural celebration for Guyanese, having earlier overcome thatinfamous day of disturbances on February 16, 1962. GCA’s proposed 2012 theme: Masquerade Lives! - will cap-ture the history, vibrancy, artistry and colorful spectacle ofthis art form that will feature prominently in Guyana thisyear as promised by the Ministry of Culture.Secondly we are indeed grateful for all the healthy com-ments you our readers made regarding our Januarynewsletter. Your critical thoughts and encouragement areappreciated and your valuable source of information will allbe considered. Your suggestions will certainly make ournewsletter paramount here in the Diaspora. As the yearunfolds we promise to stimulate you with not only culturalprograms, but also inspiring features, events and activities.We will also feature people who made us proud of theirachievements. I draw your attention to the special sectiondescribing Claire Goring's memories of fashion and cos-tume design. In PART I she brings to life the behind-the-scenes stories critical to the birth and sustenance of Carni-val Art and Culture in GuyanaThirdly, please enjoy our articles on Black History monthas we pause to recognize some of our African AmericanGuyanese overseas; the origins of Mashramani; a call tosustain and preserve Godfrey Chin’s legacy and collections;remembering one of the nine tribes of the Amerindians; aportrayal of the political and cultural immigration divide;music education workshops, and many other interestingfeatures.Special acknowledgement to our writers and all who con-tributed in our previous issues. It's easy to take for grantedthe ability and hard work of the talented personnel, adver-tisers, and volunteers. Nothing brings us more excitementthan the success of actually being able to make a differencethrough our publications.Finally, we salute and thank you for your ardent support in2011 and invite your continued patronage in 2012 as weventure to produce another exciting Folk Festival season. Please join our Facebook group, and log on to www.guy-folkfest.org for our upcoming events. May 2012 bringanother year of cultural and artistic education and inspira-tion for all of us to enjoy.

IN THIS ISSUEPAGES 3: “Helen of Troy” 1961PAGE 4: Black History Month PAGE 6: How Mash startedPAGE 7: Memories of a Costume

DesignerPAGE 8: How Mash startedPAGE 9: Mash 2012PAGE 10: Ting-A-LingPAGE 11: Praise Good MenPAGE 12-13: When Giants PassPAGE 14: Memorial for

Godfrey ChinPAGE 15: Poem-Double NegativePAGE 16-17: Phillip MoorePAGE 18-19: Keith WaithePAGE 20: Immigration DebatePAGE 21: February the

shortest monthPAGE 22: PublicationsPAGE 23: Book ReviewPAGE 24: Expectant FathersPAGE 25: Future GenerationsPAGE 26: Community Events

February Editor - Edgar HenryCopy Editors-

Edgar Henry & Lear Matthews

Layout and Design by Ashton Franklin & Claire A. Goring

Contributors:Peter Halder, Lear Matthews,

Juliet Emanuel, Claire A. GoringTangerine Clarke, Edgar HenryVibert Cambridge, Ronald Lammy

John Morris Gokarran D. SukhdeoElfrieda Bissember

Pictures:Tangerine Clarke

Arthur Veerasammy, Vibert Cambridge, Castellani House

Cover Art- Claire Ann Goring

CreditsNostalgia (Godfrey Chin)

Stabroek NewsRichards 2011

National Gallery, Castellani HouseFolk Arts Messenger

GCA Media TeamAve Brewster-Haynes (Chairperson),

Juliet Emanuel, Tangerine Clarke, Edgar HenryLear Matthews, Claire Ann Goring,Muriel Glasgow, Ashton Franklin,

Margaret Lawrence, Francis Farrier, Godfrey Wray

Please join our Facebook group, Website: www.guyfolkfest.org

GCA Secretariat1368 E.89 Street, Suite 2Brooklyn, NY 11236

Tel: 718 209 5207

Letter from the Editor

Edgar Henry

3


FROM GUYANA FESTIVALS TO MASHRAMANI

1961 GUYANA FESTIVAL

“Helen of Tr oy”Godfr ey Chin,

assisted by Ar thur Veerasammy

One of the fir stattempts in Guyanato br ing costume masto a car nival-like celebration.

Helen of Troy was significant in costuming in that it embraced, for thefirst time in Guyana, techniques ofmetal work required to scroll and carveintricate breast plates and armor. The presentation included all the characters of Homer’s Iliad includingHercules, Jason and the GoldenFleece, Polyphemus, the Amazons,Hector, Ullysses and Paris.By 1962, papier-mache sculpturestogether with feather craft and wirebending frames were introduced.These were essential skills to be mastered if costume carnivaling wasto grow in Guyana.

GUYANA CARNIVAL COSTUMES THROUGH THE YEARS


There is so much to belearnt from the controversyand celebration of the

struggle and character that definepeople of African decent. Embed-ded in this process is the culturaldiversity that garners the Diaspo-ra and the United States into agreat mosaic.History has not always been kindto African Americans and it tookquite some time to embracediverse ethnic cultures. Most his-torical recordings have omittedsignificant contributions made byimportant heroes of the past. Thevast majority of Americans knowof Rosa Parks and her vital roleleading up to the Civil RightsMovement but very few know ofPaul Leroy Robeson who was anAmerican concert singer, record-ing artist, actor, athlete, scholarand also an advocate for CivilRights.Culture is a set of norms thatestablish societal standards forwhat is considered generalacceptable behavior, beliefs andcustoms. In every culture thereare basic standards for socialinteraction. From a Guyanese per-spective we portray and recog-nize various conduits for thetransmission and sustainability oftraditional culture, which includestorytelling, Kwe Kwe, perform-ing arts, masquerade, maticore,

Eid-ul-Fitr, literary hang, sports,food, dance, art exhibition, poetry,comedy and many other ethniccultural activities. Other cultures take on an entirelydifferent composition in America.We bring with us our cultural her-itage to the US and at times tendto have a rather myopic world-view. Some of us adapt and canreadily accept and respect othercross-cultures while others donot. Cultural diversity makes ourcountry richer by making it amore interesting place in whichto live. Just think how boring ourdiet would be without Chinese,Mexican, Japanese, Italian, Indian,German, French or South Africanfoods. I know there are someGuyanese who claim they can eatcook up rice or curry every sin-gle day. Black history month, also knownas African American historymonth, began largely due to oneman, Dr. Carter G. Woodson whofound that history books omittedmajor accomplishments or con-tributions of black people madethroughout their long history asAmericans. It was perceived thatthe only person recognized andcontributed to the culture of theUnited States was George Wash-ington Carver. Initially, Black His-tory Month was celebrated dur-ing the second week of February

to correlate with the birthdays oftwo men, President Abraham Lin-coln and abolitionist FrederickDouglass. The bicentennial of theUnited States in 1976 motivatedthe legislature to designate theentire month of February as atime for celebrating black history.Black History has come a longway. Gone are those days whencultural artists and singers in thefifties such as The Platters andNat King Cole had to actually“slick” their hair to be recognizedand validated by the establish-ment of that era to sing andappear on radio, bearing in mindthat no television existed in thosedays. Cultural diversity brings languageskills, new ways of thinking, andcreative solutions to difficultproblems and encourages negoti-ating proficiencies. Black HistoryMonth encompasses an entirepopulation of people that possessa unique heritage and remarkableperception of the world. TheUnited States could still be recog-nized as the melting pot or moreprecisely, a salad bowl wherenew immigrants are integratedinto the American society but atthe same time maintaining andembracing their own culture.

BLACK HISTORYMONTH

AND CULTURAL DIVERSITY

4 ALSO KNOWN AS AFRICAN AMERICAN HISTORY MONTH, STARTED WITH DR.CARTER G. WOODSON’S THOUGHT THATHISTORY BOOKS OMITTED MAJOR ACCOM-PLISHMENTS OR CONTRIBUTIONS OF BLACKPEOPLE THROUGHOUT THEIR HISTORY

CELEBRATING PEOPLE OF AFRICAN DESCENT

Edgar Henry

GODFREY CAMBRIDGEActor, comedian and civilrights activist was born inNew York to parents Sarahand Alexander Cambridge

of British Guiana.

CONTRIBUTIONS BY AFRICAN AMERICAN GUYANESE


5

IVAN VANSERTIMAHistorian, Writer

E.R. BRAITHWAITEWriter

EUSI KWAYANAActivist, Writer

VINCENT ADAMSNuclear Energy Engineer

ALYSON CAMBRIDGEOpera Singer

BRENDA DO HARRISWriter, Professor

SEAN PATRICK THOMASActor

MARITZA CORREIAOlympic Silver Medalist

DARREN COLLISONNBA, Indiana Pacers

ALIAN POMPEYAthlete

PAM JACKMAN-BROWNJudge, NY Supreme Court

CLAIRE PATTERSON-MONAHHealthcare Administrator

DEREK LUKEActor

MARK TEXEIRABaseball Player, Yankees

DONALD LOCKEArtist

IVELAW GRIFFITHProfessor/Provost

MAUREEN BUNYANTV Journalist

JULIET EMANUELAssociate Professor

JAN CAREWWriter, Activist

VIBERT CAMBRIDGEProfessor, Writer

JOHN SAMPSONNY State Dem. Leader

KEN CORSBIEActor/Folklorist

CCH POUNDERActress

SANDRA CHAPMANBklyn, Dep. Borough President

SHIRLEY CHISHOLMPolitician

6 BEFORE MASHRAMANI, THERE WAS THE GUYANA FESTIVAL

Evadne Gravesande, first Mashramani Queen at McKenzie


The Jaycees of Linden, since Guyana became inde-pendent in 1966, had been arranging and orga-nizing an Independence Carnival in McKenzie.

When Guyana became a Republic in February, 1970, theJaycees of Linden, under its President Nobreiga, formeda Jaycees Republic Celebrations Committee. BasilButcher was selected as Chairman but beccause he wasselected to tour Australia with the West Indies CricketTeam, Mr. Jim Blackman was appointed as the Deputy tocarry on.

A broad based committee including resource personnelsuch as Wordsworth McAndrew, Arthur Seymour andAdrian Thompson, began the organization of theCarnival activities.

The search for a name to replace Carnival began and itwas suggested by Basil Butcher that an Amerindianname be chosen. This was agreed to and several individ-uals including Mr. Allan Feidtkou, an Amerindian, werecontacted.

Mr. Feidtkou held discussion with his grandfather whoexplained a type of Festival that was held byAmerindians whenever they gathered to celebrate a spe-cial event. This event he said was like “Muster Many”

which sounded in Arawak like Mashramani.

Steps were taken to confirm this. The help of Mr. AdrianThompson, who was the District Commissioner of theinterior and was considered an authority on AmerindianAffairs, was sought.

After checks could not confirm or deny that the Arawakword for the Festival was Mashramani, and in keepingwith Mr. Feidtkou’s interpretation, it was decided thatthe Festival would be called Mashramani.

On February 23rd, 1970 the festival called“Mashramani” was a huge success with people drawnfrom all Regions of Guyana to Linden welcomingGuyana’s Republic status with over three days of frolicand fun.

After witnessing the massive crowds, glitter and level ofcompetition, Mr. David Singh a Government official helddiscussion with the Jaycees Committee about bringingthe event to Georgetown. Approval was also given bythe then President Forbes Burnham for Mash to be theNational Event for the Republic Celebration.

Mash activities were rotated in Linden, Berbice andGeorgetown but due to sponsorship, the CostumeBands contest remained in Georgetown.

HOW MASHRAMANI CELEBRATIONS STARTED IN LINDEN BY THE JAYCEES

MASHRAMANI

1968

7


MEMORIES OF A COSTUME DESIGNER

Iwas aware from an earlyage, that in my home, ifmy mother can make it,

we don’t buy it. I can’tremember wearing a pairof socks bought from thestore because my motherwould knit my socks withhat and purse to match.My first foray into costumedesigning was at age ninewhen my Mom and Idesigned an entire costumemade from banana leavesfor the talent show at theannual Ghana Day celebra-tion at Victoria Village.As a teenager, I did not real-ize I was following in herfootsteps until I would takemy aunt’s dresses and,using pieces from eachdress, I would come upwith my own design whichwould be more along thelatest fashion and was tightenough to show off myblossoming curves. To com-plete that image, and to theamusement of my family, Iwould weave wire into myhair to form whateverdesign I thought would fit with my outfit. Sometimes Ieven used pieces of materials to add to my “Soca Boat”slippers to compliment my outfit. A member of the Young Methodists Arts Youth Group atKingston Methodist Church, I also had the opportunityduring our Cultural Festival each year to compete in theart and craft competitions. I also worked on the play“Barabus” staged at the Theatre Guild, during Holy Weekand on other stage productions at my church.At some point, I saw a Carnival magazine with the latestcostumes. I was enthralled by the artistic creativity of theTrinidad Mas designers and their use of many differentforms of materials (natural and man-made) to transformthe costume into a dream of the mind’s eye. Even thoughat the time I had no way of showing my designs I wouldthink of a theme based on folklore, culture or traditionand come up with designs for characters who I thoughtwould portray those themes.Years later, working as a Graphic Artist in the advertisingdepartment of Guyana National Newspapers, I met busi-nessman Neil Chan and during discussions with Chan andhis assistant Fay Gaskin, I mentioned my passion for pro-duction and costume designing and showed them someof my designs. This was to be the start of the most excitingand memorable time of my career as a designer. As my love for costume designing grew, it became my

focus to elevate thataspect of local culturewhich, after the daysof Godfrey Chin andDavid Lanny, hadsomewhat lost theglitz, glamour, originalityand attention to detailthey were known for.I wanted my designsto be expressions ofthe Mashramani spiritwhile capturing thepageantry and splendorof the portrayal.Those who knowNeil Chan wouldknow that he doeseverything with flairand as Godfrey Chinwould say, with“Pizazz.” So whenChan decided toenter Solo into theSmall Band Competitionin the 1973MashramaniCompetition, I wastasked with comingup with designs andalong with GrantGaskin who was familiar

with costume making in Trinidad, the production started.For many months prior to Mash Day, I would work at myjob at the Chronicle, then rush over to the Solo camp onEping Avenue and work until two and three o’clock in themorning. Many times, in those early years, looking on asPatrick Melville bent wire for the frames of the costumeand soldered pieces together, the next day I would haveto go to work with dark shades to hide my “hawk eyes”which came about from staring into the flame and sparksfrom the soldering equipment.The Solo Mash Camp was a family of volunteers sitting onhomemade benches and “shooting the breeze” as they cutand paste until the wee hours of the morning. The campwas surprised one year when Martin Carter and MarcMathews walked in and started cutting cardboard and foillike any other volunteer. It was not only work at the Solo Mash Camp. Food, musicand practical jokes got us through the night. The residentcooks, Ivor and Brian would have their “favorites” andwould take orders for that night’s dinner. For those whocould not keep up with the late nights, it was best youstayed at home, since, if you fell asleep, your eye lidswould be pasted shut and your legs tied to the chair youwere sitting on. One volunteer decided one night to makehis bed on the cross beam of the roof of the tent.

IN THE SOLOMASH CAMP

Claire Ann Goring

Solo Producer Neil Chan in this Clare Goring designed winningKing of the Band costume for the band “From Whence We Came”

MASHRAMANI

1974

8MEMORIES OF A COSTUME DESIGNER

We all looked on in amazement as he slept comfortably ona 4X4 beam, high above us. Another “sleeper” thought hewas smart and made his bed in a large box at the bottom ofthe table, covering himelf with scraps of paper and piecesof colorful foil. Unfortunately his shoes stuck out and AlanCooper and Chris Cameron decided to get him back for themany times he floured or pasted a sleeping volunteer. Theyused one of the cardboard tubes from a bolt of cloth andran it down into the box. They poured water down thetube which woke our “sleeper” from his slumber, landinghim on the ground, soaking wet, with glitter and pieces offoil stuck to his body.

Another Mash Camp activity we looked forward to was theyearly spying visit from “Trini”, Winfield James. The MashCamp was surrounded by high zinc sheets so that the com-petition could not see in. Our king and queen costumes hadto be hidden from the eyes of the public until the night ofthe Mash Competition. “Trini” would come by with some ofhis crew around one o’clock in the morning, tooting hishorn and banging on the shed. They would try to scale thefence even as the Solo crew sprayed them with paint andthrew items at them. “Solo, wha’ alyuh hiding deh. I doanca’e wha ulyuh coming wid, I gun beat ulyuh into nextweek,” James would shout as he drove around the camp.

Another memorable event was the Mash Nite Competitionat the Linden Sports Grounds when we were forced to liftour huge Queen costume over the fence in the pouringrain, because the personnel at the gates refused to open thegates for us to enter. “Alyuh comin’ to win everything again,well get in de best way you can” shouted the gatekeeper.Lifting the huge, wet costume on our shoulders over thefence, we borrowed fans from friends in the neighborhoodto dry out the many feathers which adorned the costume.Also locked out from the dressing area, we formed a humancurtain so that our Queen, Sandra Stewart could dress. Ofcourse after winning again, we had to hightail it out ofthere. Linden was a far way from Georgetown and some ofthose Lindeners were out for blood. The next year, the blindCalypsonian “Mighty Smoker” wrote a calypso about it.

Claire A. Goring - Part 2 continued in March issue

In Godfrey Chin’s Nostalgia, he stated“…without any mamaguying, I award the title of Best CostumeBand ever in Georgetown to Solo’s presentation“From Whence We Came” in 1974. Producer Neil Chan with designer ClaireGoring produced a mas equal to Cleopatra’sentry into Rome ….. Claire’s elaborateauthenticity was mind boggling. Thousands offeathers adorned massive headpieces, intricatelybraided to glamorize tribal splendor.”


MASHRAMANI

1974

Carol Cholmondeley, FemaleIndividual in the Band“From Whence We Came”

MASHRAMANI

1973 Karla Gaskin, FemaleIndividual in the Band“Beauty in Fertility”

9


MASHRAMANI 2012

Guyana’s Mashramani, now virtually a three – weeklong festival of both art – forms and educationalactivities, is really the celebratory aspect of theRepublic Anniversary Observance. It climaxes, in away, with an extravaganza of a Costume and FloatParade through the streets of the Capital,Georgetown.

There is now something for all Guyanese, theirfriends and other visitors and tourists at February’sMashramani in Guyana.

COME VISIT TROPICAL RAIN-FORESTS OR THE MIGHTY MOUNTRORAIMA STRADDLING THREECOUNTRIES,STAY AT OUR ECOLOGICAL LODGES INTHE FORESTS OR ON THE RIVERS.PARTICIPATE IN STREET DRAMA –

LOCAL AND INTERNATIONAL TRADITIONAL AND POP CONCERTS PLAY MAS’SEE FOLK RITUALS RE –ENACTED ATTEND UNIVERSITY – LED LITERARY/CULTURAL WORSHOPS.What? You still love PAN, MASQUERADE, CALYPSO, SOCA AND CHUTNEY! Well comeon down to Georgetown. Mashramani is more varied,more diversified than many other festivals or carnivals.

And by air, road or bridge, you may slip across toVenezuela, Suriname or Brazil.

Then it’s back to Georgetown or some hinterland orrural community to “festivate” with the folk. Book afantastic February in Guyana this year. What?Weather? Rain or Storm Mashramani 2012 goes on!

Allan Fenty

GUYANA’S CARNIVAL

Steelpan creativity devel-oped in Guyana shortlyafter it emerged in the

instrument’s birthplace.Guyanese musicians have playedan impressive, defining role,albeit under-recognized. But by2012 the characteristics of Oii –origins, identity and influence –portray how far we have comewith steelpan artistry andGuyanese contributions.

Two major milestones in the pre-sentation of the instrument inpopular music hail back torecordings in 1954 and ten yearslater. Al Seales, a pioneeringmusic producer, conceived andrecorded “Ting-A-Ling” in hisGeorgetown studios. It is anextraordinary recording in lightof its era: Guyanese are beingrestrained for self-governmentaspirations; and the art formscombination is a first. The fea-tured vocalist was DoreenGravesande, a soprano in popu-lar music, singing lyrics in tribute

to steelband music. The melodywas reinforced by the contempo-rary ping-pong, the precursor totoday’s soprano or lead steelpan.A full brass line provides theaccompaniment.

Bing Serrao and The Ramblerswere a popular Guyanese stringband in the mid-1960s and theirmost liked performance was“Three in One Saga”. Exhibitingtheir self-confidence and theinfluence the emerging steelpanmusic was having at that time,the band re-recorded their signa-ture tune. The ping pong was fea-tured in a solo performance.

Forty-five years later, KentonWyatt applies 21st century tech-nology in a leapfrog approach totraining steelpan musicians.Observe a typical KendrumYouth Steel Orchestra panyardrehearsal scene. A new item isintroduced to the repertoire oneafternoon.

The music director plays a sym-

phony recording of a Europeanclassical piece from the panyardcomputer and through highquality speakers. He discussesnuances for specific pan instru-ments. The score is presented toeach band member. The threemelody pan members thenmove their instruments to anoth-er section of the panyard for abrief practice session by them-selves. The music director, mean-while, has individual discussionswith each of the other membersat their respective instruments.The lead pannists rejoin thegroup, the ensemble playstogether three times, andrehearsal ends as scheduled.

The latest addition to the reper-toire was done using musicscores. In addition, all of theinstruments were individuallyrecorded and modulatedthrough a mixing board. Therecording would be reviewed bythe director for instruction andguidance at the next practicesession.

Teaching and presenting pan innew ways while preserving theingenuity of the artform hasbrought more science to the artof pan. Glorious sounds havebeen our privilege to enjoy.

Ting-A-LingTing-A-Ling

Bing Serrao andthe Ramblers andKendrum YouthSteel Orchestra

A GUYANESE STEELBAND STORY

10

Ronald Lammy


Have you not known? Haveyou not heard? Well, whyshould you know about the

men who are part and parcel ofGuyana Cultural Association ofNew York, Inc. Some are more visi-ble than others and so are greetedloudly when they appear in publicbut others labor quietly in thebackground, encouraging, support-ing, applauding the rest of us whotend to the business of GCA. Tolist all that they do for this organi-zation will take up much moreroom than allowed in this newslet-ter. So there will be very shortacknowledgments of what theycheerfully do for the organizationand in so doing make us all look good. Toanchor the following words I am using theevents that took place in the tenth season. Letus then praise the men of GCA and then some.Selwyn Collins walked in one day duringthe Summer Camp to take a look. In shortorder he was conducting the Writing Work-shop of the day. Lear Matthews and DavidBryant came by to see what was going on andpledged support. Lear is now heavily involved inthe newsletter, Folk, the magazine and theAnnual Symposium. It is he that delivers hisbrother's poem to rousing applause whenever Icall upon him. It is he who stayed behind at thelast symposium hauling out garbage and so on.Clem Richardson, his shirt was soaked bythe time he was finished teaching at the campand the children adored him and he them.When we look up any year there is KenCor sbie arriving on time at the LiteraryHang, the Symposium and other events. Onedoes not dare ask at what hour he left LongIsland. Ron Bobb-Semple, in character,everyword in place for the plays and otherevents. E. Wayne McDonald, who broughtto life Mittelholzer's play at the Symposium atYork College (praise here to Ivelaw Griffith forgenerosity plus!) and who willingly ran a work-shop for the summer camp and has not misseda Lit. Hang, Keith Proctor, quiet, effectivein his amazing way (you should have heardthose children sing, "Lord, We Lift our Handson High") Keith reminds us of an earlier gra-cious supporter, Danny Coakley. Then thereis Rudy Bish op, with and without hisChronicle Steel Orchestra, weathering a flood-ed auditorium basement, helping to godfatherthe location of the Summer Camp, CourtneyParr is, always there, concerned, promoting,running interference and the other godfather,Alexander Betton-Haynes, early morn-ing run around at the camp all those lunches,cleaning up, helping with lessons, physical laborduring the play, Oswald Bobb, his own chil-dren in tow, in the early afternoon Film ShowTime! We acknowledge Chuck Mohan andLeslie Stewart whose firm support and con-

tributions to events such as the summer campwere more than gifts. Akoyah Rudder: ahha, more than the drums for the dance classes,cheerfully giving drumming classes and makingkites, and all that fetching back and fro Jeggaeagain the music whenever needed and thensome. Wayne Daniels, and the dance andthe children, stick dancing! Mon sign orPaul Jervis, space for the Kwe Kwe, Sympo-sium and Literary Hang over the years at St.Peter Claver and Our Lady of Victory. Fr.Clark Powers for the gardens and otherspaces of St. John's for meetings and the Lit.Hang. Mar cel Braithwaite with whomthere would have been no space for rehearsalsfor the plays. Over the years the actors invadedLeinad Early Childhood Center and After-school for rehearsals and Lear Gordon didnot flinch. Neither did Peter Halder orEusi Kwayana when they allowed theirthoughts to be filmed! Hilton Hemer d-ing: calmly every day at the camp, teaching,advising, remember the music, the singing andthe Ice Cream Banquet! One does not see thesemen (and a "hats off " to the supportive spousesand partners of all the GCA women) and theyare not members of the board; just men whobelieve in the mission of GCA and the childrenof the Diaspora.And now for the Board: That Summer Camp(and this has to be in short hand) MauriceBlenman: the man who gets there early, setsup, deals with the vendors, breaks down thefield, runs the children's games - one sees theeffects of his work; the voice of GCA, the inim-itable Franklin, Bobby Vieira, all thosegifts at the end of the camp; Edgar Henry -music theory at the camp, steady, steady andwith no complaints, space for events, hasalready godfathered space for the Lit Hang,Cyril Browne: the story teller; Roy Brum-mell, activist, educator, writer, dedicates histime so quietly one does not notice, Ashton Franklin , giving the chidren at the-camps over the years lessons on writing and didthose kids love the free books! Ron Lammyalways in support of recognizing the youth par-ticularly those resident in Guyana, Car l

Hazle-w o o d, thecurator of thefirst ArtExhibitionfor Guyaneseartists inNew York,the gracioushost of the Open Mike session at the Lit Hang,Ray Seales, prompt supporter of the Silentauction and promoter of music initiatives inGCA, Romesh Singh, support, encourage-ment in all GCA efforts, Errol Doris, theGCA business man, lives out of state but alwaysin touch with his finger on the pulse, FrancisFarrier, filming and reporting, quietly gener-ously, Godfrey Williams, even out of town, afirm contributor; the late Godfr ey Chin(this essay was proposed early in January) hiswork cannot be over praised but his determina-tion to support the first Lit Hang will always betreasured. Maur ice Braithwaite, AKAMoBraff, the other person at the desk of thesummer Camp, the voice and diction master,the producer and director of the PerformingArts Program, supporter of the Lit Hang andthe Symposium, godfather of space over at St.Peter Claver and physical labor on the festivalground. Malcolm Hall was succeeded byVibert Cambridge as President but eachman was his own force: Macolm who insistedon Open Mic, our own GCA throw down, atthe Lit Hang, fetching and carrying and sub-scribing to all events in ways too numerous tomention, drumming, acting as backstage crewand in lighting, helping to teach in the summercamps and meetings, meetings, meetings; Vib-ert picking up the challenge, guiding, enjoyingthose flowers and the home made ice-cream,the joy in the children's masquerade at thecamp. As Godfrey has said, "Ya tink it easy."The work of these men collectively make GCA.They are there all the time with patience andgood grace. But you would not really noticethem, so it is time to say,

“Come let us praise good men."

ENCOURAGING & SUPPORTIVE

11COME, LET US NOWPRAISE GOOD MEN

Juliet Emanuel


SELWYN COLLINS LEAR MATTHEWS CLEM RICHARDSON E.WAYNE McDONALD ROMESH SINGH KEITH PROCTOR

CHUCK MOHAN AKOYAW RUDDER

12

The passing of giants is always sad, andthe recent passing of Godfrey Chin isno exception. I vividly remember sitting

with him at his David Street flat for most of theafternoon of Saturday, December 18, 2011. Hereflected on the joys of being back home and thesadness he sometimes felt about the apparentdisregard for his efforts to popularize Guyaneseheritage and social history. He bemoaned thepassing of the old days, not in a nostalgia basedon the class and color privileges of most of the20th century but of the “old days” when actualizingour possibilities was the driving force, whenentire communities celebrated the achievementsof “poor people children” and “inventiveness” wascelebrated—even making a toy—a war tank froma disused cotton reel, two pieces of candle, a rubberband, and two pieces of “pointa.”

I had looked forward to sharing more informationfrom Ohio University’s Guyanese newspaperarchives with Godfrey. He was finding it difficultto use the newspaper archives because the docu-ments in the Guyana National Archives were toobrittle. He considered it a crime againstGuyana’s heritage to damage those documentsfurther by using them. It was exciting to sendGodfrey a PDF file of The Daily Argosy articledescribing the first flight of an aircraft in BritishGuiana on Easter Monday, March 24, 1913.

That Saturday afternoon Godfrey also talkedabout the photographic exhibition he was planningfor Mashramani 2012. Given his penchant forpizzazz, he was planning to push the boundariesof photographic displays in Guyana. Godfreywanted to incorporate the technologies associatedwith Guyana’s photographic heritage—magiclanterns, slide projectors, and contemporary digitaltechnologies. He envisaged large photographs(some draped from buildings), cameos, stills frommoving pictures, and panels with audio (musicand the spoken word). In the final analysis, Godfrey

Chin’s ambition was to help contemporaryGuyanese visualize their history and heritage.

When giants pass, they take so much withthem. Sometimes, it is an act of selflessness thatsaves a giant from obscurity. Had it not been forthe generosity of the Grant brothers, Billy Mooreand Richard Noble would have been buried in anunmarked place and forgotten, their contribu-tions to Guyana’s cultural life minimized. Howdo we remember Dougla Betty and Bal GangadharTillack? How do their stories and those of themany who have gone before enrich us, invigorateus, and inspire us in this pivotal moment inGuyana when it seems possible to break thecycle of forever spinning the wheels of politicalrhetoric and going no place?

The question is: “Do we know our giants?”Our ancestors are giants—every one of them:those who left still-to-be-decoded messages inthe petroglyphs of Guyana’s hinterland; thosewho with “shovel in hand moved millions of tonsof water logged clay to humanize the coast”;those who travelled top-side to wrest Eldorado’sjewels; and those who farmed the land and fed anation, always leaving some bambaye. We needto honor them.

Let us build upon Godfrey Chin’s work. Hewas standing on the shoulders of giants like NormanCameron, Wordsworth McAndrew, Joel Benjamin,Lakshmi Kalicharran, and Raj Kumari Singh whoalways found pride in being Guyanese. We mustestablish a sustainable strategy for systematicallycollecting and archiving Guyanese memory.Memory is crucial for hearing the voices andaspirations of our heritage—for visualizing preferredfutures. The Guyana Cultural Association of NewYork, Inc., stands ready to play its part in such aneffort.

CALL TO ESTABLISH A SYSTEMATIC ANDSUSTAINABLE COLLECTION AND STORAGESTRATEGY FOR GUYANESE MEMORY

GUYANESE HERITAGE & SOCIAL HISTORY

LET US BUILD UPON THE WORK GODFREY CHIN WAS ENGAGED IN

Vibert Cambridge


13

SOMETIMES, WEDO NOT

RECOGNIZE OURGIANTS!

HOW DO WEREMEMBER

DOUGLA ELSIEAND

BAL GANGADHARTILLACK,

NORMA CAMERON, LAKSHMI

KALICHARRANAND RAJKUMARI

SINGH?

DO WE KNOW OUR GIANTS?

THEY TAKE SO MUCH WITH THEM!GUYANA CULTURAL ASSOCIATION OF NEWYORK READY TO BE PARTNERSHIP OF DIASPORAAND DOMESTIC ORGANIZATIONS TO ESTABLISHA SUSTAINABLE STRATEGY FOR SYSTEMATICALLYCOLLECTING AND ARCHIVING GUYANESEMEMORY.

WHEN GUYANESE GIANTS PASS ON

GODFREY CHIN’S AMBITION WASTO HELP CONTEMPORARYGUYANESE VISUALIZE THEIRHISTORY ANDHERITAGE.


14 MEMORIAL SERVICEJOIN THE FAMILY & GCA AS WE

CELEBRATE THE LIFE AND WORK OF

Godfrey W. ChinSUNDAY, FEB. 26, 20123.00 P.M.

OUR LADY OF VICTORY MEMORIAL HALL283 THROOP AVENUE &McDONOUGH STS, (next cross street Macon)BROOKLYN, NY 11216

DIRECTIONS:By MTA: C train to Kingston and Throop. Walk 3 minutes to Throop.

Because of current construction at weekends, call MTA @ 718 330 1234 for any additional information.


DOUBLE NEGATIVEBy John Morris

I don’t want to talk to nobody,Cause I don’t have nothing to say. I don’t have no money Cause I don’t get no pay.

I don’t like no daytime,Cause I don’t make no hay.I don’t like no bedtime,Cause I don’t want to not stay.

I don’t dance with no antiman,Cause I don’t want no play.I don’t drink with any drunk man,Cause I don’t forget the way.

I don’t buy no nice clothes,Cause I don’t go to no church.I don’t end no fight with no blows,Cause I don’t want to stay in no lurch.

I don’t read with no dull light,Cause I can’t do without my sight.I don’t fly no heavy kite,Cause I don’t like to like the height.

I don’t have nothing, not a thing,Cause I don’t have nothing to bring.I don’t know nothing, not a thing,Cause I don’t ask nobody nothing.

POEMS & POETS

THE POETJOHN MORRISJohn G. Morris, former teacher atBerbice Educational Institute andDistrict Youth Officer, is Professor ofSociology, Edison College in PuntaGorda, Florida.

SUBMIT YOUR POEMS

"The GCA Online Newsletter EditorialTeam invites poets to submit their poems forconsideration of publication in our POETS'CORNER. Please make your submission to: [email protected]."

15

Paintings and sculpture fromthe National Collection bythe doyen of Guyanese art,

Philip Moore, are on display onthe two upper f loors of theNational Gallery building lastDecember and for the month ofJanuary 2012. Mr. Moore celebrat-ed his 90th birthday last October12th , shortly before the NationalAwards Ceremony bestowed onhim the award of the CaciqueCrown of Honour (CCH) for hisexceptional contribution toGuyanese art. The gallery’s displayhonours this most influential ofGuyana’s artists for his lifelongcreativity which has producedhundreds of works of art sincehis first sculptures begun in thelate 1940’s, after he experienceda vision of a hand reaching down

to him from the skies with asculptor’s tool – recorded in hispainting in the National Collec-tion, ‘Receiving the Gift’(1971-80). The National Gallery Curator andstaff visited Mr. Moore at hishome on the Corentyne on hisbirthday with gifts and also withthe painting, titled ‘JanetGuyana’, which the artist haddonated to the gallery last year inmemory of the late Chairman ofthe National Gallery’s Manage-ment Committee and former Pres-ident of Guyana, Mrs. Janet Jagan.Contrary to his usual practice theartist had not signed the workand had promised to do so later;the gallery therefore returnedwith the work for the artist’s sig-nature.

A special card printed by thegallery last December honors Mr.Moore with a reproduction(detail) of his colorfully patterned1966 painting ‘Journey - Rosignolto Georgetown’. This card, alongwith another by Winston Strick,MS, ‘Birds in the Forest’(1987),printed this month, can be pur-chased from the NationalGallery’s foyer shop along withothers reproducing works fromthe National Collection; these areblank for personal messages. Additionally, the main first floorgallery at Castellani House isexhibiting works by artists whohave won awards at the NationalVisual Arts Exhibition, the pre-mier visual arts competition inGuyana which ceased in 1994after nearly four decades of suchcompetitions being organizedand presented, first by theNational History & Culture Council,later renamed the National Historyand Arts Council, and its furthersuccessor the Department of Culture,all of which agencies adminis-tered the National Collection priorto the founding of the NationalGallery in 1993. Castellani House in wishing torevive an earlier proposal for arelaunch of the NVAE event, isthus promoting the idea of such acompetition through the presen-tation and examination of thequality of prizewinning worksand artists, many of whom havehad their careers and reputationsenhanced, if not established, bythe winning of NVAE awards.The current exhibition thereforeincludes paintings and sculptureby prizewinning artists from theNational Collection, such as StanleyGreaves, George Simon, OswaldHussein, Bernadette Persaud, KennethWard, Dudley Charles and GaryThomas. The exhibition ran untilSaturday 4th February.

Gallery hours are 10am to 5pmMonday to Friday, and 2 to 6pmon Saturday; the gallery is closedon Sundays and holidays, andadmission is free.

PHILLIP MOOREHONORED

BY NATIONALGALLERY

MOORE CELEBRATES 90TH BIRTHDAYRECEIVES CCH NATIONAL AWARD

Photograph showsPhilip Moore signing

his work ‘JanetGuyana’, donated

to the NationalCollection while

Curator of Castel-lani House Elfrieda

Bissember, Mr.Moore’s daughterCorine Munroe,

granddaughter andanother relative,

look on in the back-ground.

DISPLAY OF WORKS OF NATIONAL PRIZEWINNERS AT NATIONAL GALLERY

16


Elfrieda Bissember


17

About 1940, Moore converted to JordaniteChristianity, which teaches self-help, personalpride, communal life, hard work, and study of

the Bible. But his intense love for God by no meansconflicted with his belief in the influence of spirits.About 1955, Moore dreamed that a large handreached down to him from the heavens, and a voicecommanded him to begin his career as an artist. Thisis the reason Moore considers himself "spirit-taught."

The dream was a decisive moment in his life. Hebegan modestly, refining his skills by carving woodencanes and quickly developed proficiency in manipu-lating tropical hardwoods such as purple heart andcocobolo. His early subjects included portraits, ani-mal figures, sports heroes and stylized magic drums.Eventually, he turned to other forms of art, such aspainting and poetry. By 1964, his intuitive carvingabilities came to the attention of local authorities atthe Department of Culture, who hired him to teachcraft and arts.

Motivated by love for his native Guyana he got thechance to create what would be the largest bronzesculpture in the region. Moore's 1763 Monument,nearly 25 feet tall, dominates the Square of theRevolution in Guyana. A defiant African warrior, withpre-Columbian-like helmet and African breastplate,stands at the ready to march against any enemy whodares to desecrate his homeland. It reminds one ofthe pervasive African belief that the spirits of oneâsancestors continue to exercise influence upon theliving. Though controversial at first, and neglectedmore recently, the sculpture is a powerful thoughenigmatic work ÷ combining traditional Africanmotifs such as the stylized masks used for leggingsand breastplates as well as its non-Western sculpturalproportions.

Moore laments the fact that younger Guyanese havebeen forced to eke out a living by mass-producing artfor the tourist trade. He always felt that his art wasmeant to be enjoyed by the masses, and he, therefore,was pleased to hold exhibitions in local cultural insti-tutions. In spite of his reputation, he only occasional-ly has sold his works to the general public.

PHILLIP MOORETHE SPIRIT-TRAINEDVISIONARY ARTIST

Obeah Ceremonial Drum, by Phillip Moore,carved and painted wood with nails,

1982 Gallery Collection

Anton (Tony) Rajer

Essequibo Music is anArts Education Organ-isation based in the

London Borough of Ealing. Themembers of our educationteam include contemporaryBlack British artists, story-tellers, poets, musicians, allinspirational and experiencedworkshop practitioners workingin the educational, cultural andperformance arenas. All practi-tioners has enhanced CRB dis-closure.Essequibo Music has had

week-long or fortnight-longresidencies in educational set-tings in Bristol, Cardiff, Liverpool,London Borough of Ealing(The EAZ Project) and Oxford.They work with Primary andSecondary schools and AfterSchool Projects, Teachers' pro-fessional Development coursesand Higher Education Per-forming Arts courses acrossthe country. Among their specialEssequibo Music projects havebeen a week-long residency atthe Eden Project in Cornwalland an education workshop inthe Pitt Rivers Museum,

Oxford. Most of their projectsculminate in a performancethat can include music, dance,storytelling, song and costumedesign. The programmes usemulti media and draw on culturaltraditions from Europe, Asia,Africa and the Caribbean.Essequibo Music runs

workshops in Storytelling, andPoetry, African and CaribbeanDance, Carnival CostumeDesign, Live Music and DigitalImaging. The Essequibo Musiccollaborative works as a teamwith teachers and projectworkers to develop skills andtalent in all these areas, and topromote confidence andsocial skills. Themed week-long projects give an opportu-nity to bring these many artsexperiences together. Themesthey work with include Mythsand Legends, The Rainforestand Caribbean Christmas.They work closely with

staff as well as students to pre-pare for week-long experi-ences. The week begins with ashort performance for a largegroup and continues with

workshop sessions run in aninformal, yet structured manner.The week leads to a dramatic'presentation' of the skills thatstudents have developed aroundthe project theme.Essequibo Music also works

with a number of adult com-munity associations and youthgroups, supported by theLearning and Skills Counciland the Children's Fund. Theywork with children, youngpeople and people with disability,parents, teachers, youth andcommunity workers. One ofthe core values of EssequiboMusic is to reduce isolation,promote social inclusion andto reduce community tensions. They are happy to work in

environments where youngpeople are at risk of exclusionor of becoming involved incriminal activity. They aim toencourage social cohesion andindividual creativity in disaffectedyoung people.

KEITH WAITHEESSEQUIBO MUSIC ARTS EDUCATIONORGANIZATION RUNS WORKSHOPS INSTORYTELLING AND POETRY, AFRICANAND CARIBBEAN DANCE, CARNIVALCOSTUME DESIGN, LIVE MUSIC ANDDIGITAL IMAGING FOR UK YOUTHS

STRANGE FRUITKeith Waite andHelen McDonald

Wdnesday,February 22, 2012

Spice of Life6 Moor Street,

London7.30-11. p.m.

ON THE UK SCENE

18


KEITH WAITHE HEADLINES TO STANDING OVATION IN UKTOUR OF“STRANGE FRUIT” AN INTERPRETATION OF THE

LIFE AND MUSIC OF BILLIE HOLIDAY, .

19


Award-winning flautist, composer,teacher and expert proponent ofvocal gymnastics Keith Waithe pro-

duces and promotes an international musi-cal style, exploring an original fusion ofjazz, classical, African, Caribbean, Asian andWestern influences.

Keith mixes many sounds, fusing enigmaticmusical forms in performance in additionto working on radio, theatre and televisionpieces, utilising his unique drive for a soundthat moves audiences chilled out spirituallyand sensually. Keith’s enormous stage pres-ence and his sense of showmanship helpsto make the audience at each live concert aunique experience as was highlighted atthe Ealing Jazz Festival (7,000 people) andThe Brecon International Jazz Festival(3,000 people).

Keith first learned to play the trumpet fromhis late father in Guyana and during his for-mal music training there, transferred to theflute. He developed a passion for the instru-ment, mastering it at the University ofSurrey and the Royal Military School ofMusic, Kneller Hall, where he gained anLRSM Diploma and the PGCE TeachingCertificate. Keith lives and works in theUnited Kingdom.

Keith formed the Macusi Players, (takingthe name from the powerful MacusisAmerindian tribe from Guyana). Theirrecent appearance at the Ealing Jazz Festival2006 was noted by British Newspaper TheGuardian “Virtuoso Flautist Waithe and hisensemble” was pick of the week as a con-cert not be missed. Summer 2005, The ArtsCouncil Of England - Three Cities createand connect project Commissioned Keithto developed and lead a new World MusicSupergroup “Musicque et Espectacio”which was great success in Derby, Leicesterand Nottingham. Keith was appointedMusician / Artists in Residence with OxfordContemporary Music and the Harrow ArtsCentre.

Keith is the Director of Essequibo Music anumbrella organisation that has on its booksa range of quality contemporary BritishArtists & Musicians working in educational,cultural and performances arenas.

KeithWaithe

AWARD WINNING FLAUTIST,COMPOSER AND TEACHER,

Waithe continues to thrill audiences all over the world,and has performed at festivals in India, France, Geneva,

Peru, Guyana, New York, Columbia and the Cayman Islands.


THE IMMIGRATION DEBATE

Despite prevailing divisive rhetoric ontransnational matters, let us symbolicallybridge cultures by celebrating

Mashramani, an important tradition of thehome country, and Black History Month, com-memorating the struggles of our adopted home.With the upcoming U.S. presidential elections,the timing, dissention and furor over immigrationare by no means accidental.

The debate has become a simmering social issuechurned by politics, economics and sentimentsrelating to ethnocentric ideals. The perennialquestion is often posed: Are immigrants displacingAmericans in the job market and destroying thefabric of American society? Or are they energizingthe economy and keeping the American dreamalive? Such is the nature of escalating concernsregarding this controversial issue. The searchfor solutions has both domestic and internationalimplications that could either enhance relationsor increase dissonance between the indigenousworking class and immigrants.

However passionate and shrill, there are validarguments on both sides of the debate: liberalizingor restricting immigrant flows to the U.S. Inpromoting either view, advocates must assess the

effects on the host society and sending nations.The impact of lost human capital and other con-sequences of emigration from countries such asGuyana are seldom highlighted. While manyimmigrants bring needed skills to the U.S, theinfamous “brain drain” occurs simultaneously.

Political ideology, government policies andrhetoric of public officials play a significant rolein either abating or intensifying the rejection oraccommodation of new immigrants. In anattempt to represent or appease their constituents,politicians strategically and deceptively use ‘theimmigration problem’ as a brokering issue. Inthis regard, under the current administration’sSecure Communities Program, there has been anunprecedented number of deportations (396,906in 2011), including hundreds from the English-speaking Caribbean. The raison d’être given forthis huge number is a bold, but futile attempt todemonstrate “toughness on immigration”, astarkly political justification. Consequently,controversy over deportation policy, includingjurisdictional responsibility, public safety, andthe impact on families, has soured relationsacross nations.

The cultural divide is exacerbated by expressedconcern, mainly by conservatives, that immigrationis transforming American culture (a moot argu-ment), while others engage in unbridled anti-immigrant diatribe and actions. Vilification andpublic pronouncements fuel community tensions, andderail tolerance, which worsen in dire economictimes.

Possible Solution

Any solution to this apparent quagmire must beinformed by humane, rational analysis of shortand long term consequences of immigrationreform. These include considering the demandsof the labor market, equalizing economic andworking conditions across nations, and theimpact on social services. Every nation shouldprotect its borders, but change agents need to becognizant of the contextual polemics in whichthey operate, i.e. a land that promotes freedomand the American dream, while selectivelyrestricting their attainment. Immigrationreform, an incendiary issue, is driven by economic,political, and nativistic forces at a time whenthere is preoccupation with curbing wealth dis-crepancies, globalization and national security.A possible solution also requires compromisingstrategies on both sides of this critical debate.Regardless, be it known that the future ofAmerica is not threatened by immigrants, buther success may depend on the future of immi-gration.

20 ALL ABOUT POLITICS,ECONOMICS AND ACULTURAL DIVIDELear Matthews


21

Did you ever consider why February is theshortest month of the year?

The varying number of days in February was adevice to keep the calendar in line with the actualyear as measured by the Earth's rotation about thesun. Pope Gregory XIII adjusted the Julian calendar’s"leap year" formula so that the leap year wouldoccur every four years.

February is the second month of the year in theJulian and Gregorian Calendars. It is the shortestmonth and the only month with fewer than 30days. The month has 28 days in common years and29 days in leap years. Having only 28 days in com-mon years, it is the only month of the year that canpass without a single full moon. It is also the onlymonth of the calendar that once every six yearsand twice every 11 years, will have only four full 7-day weeks.

February starts on the same day of the week asMarch and November in common years, and onthe same day of the week as August in leap years.February ends on the same day of the week asOctober every year and January in common yearsonly. In leap years, it is the only month that endson the same weekday it begins.

Despite having the least number of days, Februarycelebrates many important cultural commemora-tive activities.

In the United States and Canada we commemorateBlack History Month reiterating Black conscien-tiousness, while remembering stalwarts, sacrifices,and of course the civil rights movement. Strangelyit is celebrated every February in the US, butOctober in the United Kingdom. In Guyana we cel-ebrate February 23rd. the birth of our Republicand Mashramani. On February 2, the United Statesand Canada remember Groundhog Day. OnFebruary 12th the United States celebrate a nationalholiday on Abraham Lincoln’s birthday. On

February 14th Valentine’sDay is observed worldwide.On the third Monday inevery month of FebruaryPresidents Day or GeorgeWashington’s birthday isremembered. On February22nd Lent begins and it isalso Ash Wednesday. Not toforget Chinese New Year –most years, the ever popularMardi Gras revelry in NewOrleans and the Super Bowlchampionship series.

This year, Leap Day February 29 only occurs onceevery four years. Just think about this phenome-non. Let us suppose you were born on the 29thday of February in a leap year. Technically yourbirth date comes around once every four years.Today most people would celebrate that day onMarch 1st. in the common years, but that is notreally your birth date. Some folk are very supersti-tious and conscious regarding matters relating totheir personal birth dates. It could be argued thatMarch 1st and February 29th definitely do not pos-sess identical attributes, with regards to personali-ty and destiny, but that is a topic for a debate inanother forum.

However no one could deny that althoughFebruary is indeed the shortest month of the year,yet it defines peculiar personal characteristics, andis packed with memorable historical events, cele-brating significant cultural activities.

FEBRUARYTHE SHORTEST MONTH, DISTINGUISHED CULTURAL COMMEMORATIONSEdgar Henry

FACTS YOU SHOULD KNOW


22

MOVIE:A JASMINE FOR A GARDENER.by Mahadeo ShivrajA jasmine for a Gardener isMahadeo Shivraj’s newest attemptat movie making. It will be screen-ing soon in several communitiesin New York. Then it will be pre-sented in other cities like Schene-tacy, Florida, and some promisingengagements in Canada, as well.Later in Spring, A Jasmine for aGardener will move to Guyana forengagements in strategic townsthroughout the country.A Jasmine for a Gardener was shotentirely in Guyana this last sum-mer. It brings together theaterperformers in an intriguing familydrama, rich in Bollywood over-tones and sparkling withGuyanese undertones. The plot-lines are definitely Guyanesewhich has a lot of resonance withthe Indo Guyanese culture. How-ever, the movie provides a widerangle to a more picturesque viewof the country and the mores ofthe “now” generation. It is indeeda small production, strapped byshoe lace budget and a paucity ofhi-tech production tools. Yet, A Jas-mine for a Gardener surmountsthe obstacles and limitations ofthe movie making business inGuyana.This movie signals that there ishope for Guyanese artists.Mahadeo Shivraj’s relentless pur-suit in the theater field, his aspira-tions for Guyanese stardom and animagination for artistic exuber-ance come through in this produc-tion. A Jasmine for a Gardener is a

great leap forward and inspirationfor struggling artists.

Showtimes schedule:Queens PS 268 Auditorium 92-07 175th Street, Jamaica NY. 11432Sat Feb 11th - 5pm & 8pmSun Feb 12th - 5pm & 8pmSat Feb 18th - 5pm & 8pmSun Feb 19th - 5pm & 8pmBerbice -March 3rd & 4thGuyana - National Cultural CentreMarch 10th, 11th 12th.

GUYANSESE STRATEGICCULTURE: LEADERS LEVERAGING LANDSCAPESBy Ivelaw Lloyd Griffith.“This Strategic Culture FindingsReport, authored by Ivlaw L. Grif-fith, is influenced by a work groupthat held a workshop in Miami onOctober 7, 2011. It included sixprominent scholars on Guyanesehistory, geography, economics, pol-itics, foreign policy and foreignaffairs. In addition to Dr. Griffith,experts were Drs. George. K.Danns, Mark Kirton, Perry Mars,Desmond Thomas, and Nigel West-maas.” The project examines the founda-tions of Guyana’s strategic culture;personalities identified as theguardians or “keepers “ of that cul-ture; emerging and sustainedsocial and economic challenges;and requirements for the continu-ation of change.The monograph was publishedby The Latin American andCaribbean Center, Florida Inter-national University, AppliedResearch Center.

This is a free publication

PUBLICATIONS: BOOKS, MUSIC, FILMS

RECENT AND UPCOMING PUBLICATIONS BY GUYANESE

ANNOUNCEMENT OF NEW PUBLICATIONS (BOOKS, MUSIC, FILMS, ETC.) AND IN-DEPTH REVIEWS

23


IF ONLY THE GODS WERE AWAKEby Gary GirdhariGuyana Journal PublicationPrinting by Xweet Co. LLC, LIC, NYISBN: 978-0-615-19511-7718 835 1530WE ARE LIVING at a criticalmoment in history when the forces ofglobalism and unabated capitalism withits ruthless accomplices – religion, wars,greed and environmental destructionare constantly eroding our humanity,threatening to reduce us into economic,social and religious automatons. We arewillingly succumbing to a process ofcultural hegemony that is silentlyhomogenizing us into destructively,mindlessly capitalistic and hypocriticallyselfish creatures.

For those of us migrants who have beenthrust into this system, especially thoseof us who are endowed with a con-sciousness as well as a sensitivity aboutour diasporic displacements – not once,but twice severed from our umbilicalhomes – accepting and adjusting to thisprocess has been particularly traumatic.

Against this backdrop I wish to exam-ine the book of poetry by Dr. GaryGirdhari.

Pablo Neruda once said, “The booksthat help you most are those whichmake you think that most;” in otherwords, the books that awaken our con-sciousness.

In his anthology, Gary Girdhari has setout on a mission – to morally, politicallyand intellectually awaken us and thegods, both above and below, to theawareness of this cultural hegemony –an artificial social construct or mindsetimposed by western beliefs and prac-tices – or a “civilized bondage” as heterms it, in which we are all caught up.It is an “Ill-Legacy” (p.23) deeded us by“crooks and thieves / Politicians postur-ing / masquerading / cheating our peo-ple / raped our land.” And they, the “1%at the top / …smiling”, while “The bot-tom 90% swelling” and “The in-between

surely disappearing”. (p.88) Gary seesthis wretchedness in “CivilizedBondage” (p.97) “asynchronously evolv-ing in geometric progression / helpedby E = mc2 and it is “warping inex-orably” as we are driven by “unrestrictedgreed and uncontrollable lust”. Thus,with an understanding of both physicaland social sciences, he poetically makesa didactic pronouncement: “We [willcontinue to] exploit Nature / Deter-mined as we are / Under no duress /Killing ourselves in the process.”

Gary’s profoundest qualification as apoet derives from the trauma andempathy of his diasporic experienceduring which he also produced a multi-tude of socio/political commentaries,editorials and articles, published mostlyin the Guyana Journal. His poetry isactually an emotive complementary tohis prosaic publications.

Like the children of Israel wailing bythe rivers of Babylon, and most dias-poric writers, Gary yearns for hishomeland and begins his anthologywith a set of nostalgic poems. In thevery first poem “Rootlessness” (p.16)and also later in “Matri Bhumi” (p.22)he softly exhorts us to reconsider theassumptions and meanings of identity,

nation, home, and place in a broadcross-cultural context, for he says, “Weare Guyanese / From China, Madera,India and Africa / Amerindians andEuropeans, if you please / But migrantstwice departed / We are the seconddiaspora.” Gary not only sees the phe-nomenon of colonial and post-colonialdiaspora as a relationship between dif-ferent cultural origins, but also as acomplex and ambiguous relationship ofmigrants who yearn for their “MatriBhumi”, but continue to “come in hun-dreds of thousands / To this acclaimedland of plenty and cold / Backs to thewall with bloodshot tears / Motivat-ed and bold / to catch up for lostyears.” Here he lavishly employs the useof fragmented or fissured run-on wordsand phrases which produce an emphat-ic emotion when the run-on words arepre or post attached to other concepts.

I think if only the gods were awake is aresponsible attempt to understand theworld in human terms through literarycomposition. It is very inspiring, andchallenges the thinking person not tobe content to live in isolated, metaphys-ical existentialism, but to be Socratic, toquestion the political and religious dog-mas that yoke us. I believe it is this typeof questioning that started out the WallStreet protesters and those in all themajor capitals of the world. Thus, weare beginning to see a worldwide altru-istic manifestation of people’s con-sciousness, and a rebellion against thedeath sentence imposed by the 1% (aterminology Gary employed manyyears ago in “We are Not Involved”(p.88). Some results are already showingas a few Bernie Madoffs in our communityare being exposed. So, maybe, somegods are waking up!

(You may read the full review at:http://guyanajournal.com/if_only_the-gods_were_awake.html)

BOOK REVIEWby Gokarran D. Sukhdeo(Abridged Version) BOOK OF POETRY

DR. GARY GIRDHARIIF ONLY THE GODS WERE AWAKE

The Macusi is one of 9 tribes ofAmerindians in Guyana. The

others are Patamona, Arecuna,Wapisiana, Carib, Warrau, Arawak,Wai Wai and Akawaio.

There was a particular culture, tra-dition and custom in the Macusitribe that came to light during the1800s. It was known as “expectantfathers” syndrome.

It was mentioned by Sir Everard ImThurn, explorer and botanist in hisbook “Among The Indians ofGuiana.” Sir Everard was Curator ofthe British Guiana Museum (1877-1882), then a Stipendiary Magis-trate in the Pomeroon District andin December 1884, along with Har-ry Perkins, first scaled MountRoraima. He travelled extensivelyamong the Amerindians.

Under the culture, before a child isborn, the father undergoes alifestyle change and adopts many of

the practices ofthe mother. Heabstains for a timefrom certaintypes of activi-ties and foodwhich containmeat.

On the otherhand, themother worksas usual up toa few hoursbefore shegives birth.

At the lastmoment, she

retires, sometimes alone, sometimesonly with a few women of the vil-lage, to the forest where she tiesher hammock. Then the baby isborn. In a few hours or less than aday, depending on how she feels,she gets up and resumes her ordi-nary daily work.

The father changes his routine.After the baby is born, he ties hishammock alongside that of themother and baby.

As soon as he is ensconced in hishammock, he imitates the birthprocess of the mother . He stopsdoing any kind of work and contin-ues to refrain from eating meat andall other types of food except forregular helpings of cassava por-ridge. He stops smoking, bathing,using weapons and is nursed andcared for by the women of the vil-lage.

The man may not scratch any part

of his body with his fingernails sohe uses a splinter from the cokeritepalm.

He continues this culture, customand tradition for many days, some-times weeks.

The culture developed from thebelief that both parents of a new-born baby need to avoid certaintypes of foods and activities, partic-ularly the father, which may beharmful to the child’s well-being.

The Macusi also believed that thefather, by simulating the wife,shields her from evil spirits byattracting them to him.

They believe too that by doing thethings he does at the birth, the manasserts and demonstrates father-hood.

Another belief is that a supernatur-al bond is developed between thefather and the child, and is greatlyre-enforced and strengthened, sincethe baby learns from birth, by smelland touch, that there is a motherand a father.

It is not known if the culture of theexpectant fathers syndrome amongthe Macusi Amerindian tribe inGuyana, persists until this day.

The Amerindians are the indige-nous people of Guyana. They num-ber about 55,000 and live in some120 settlements in Region 1- Bari-ma/Waini; Region 7 -Cuyuni/Mazaruni; Region 8 -Potaro/Siparuni; Region 9 - UpperTakutu/Upper Essequibo.

The Macusi are found mainly inRegions 8 and 9.

LIFESTYLE AND TRADITIONS

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EXPECTANTFATHERSMACUSI CULTURE

ONE OF THE NINE TRIBES OFAMERINDIANS IN GUYANA

Peter Halder

FUTURE GENERATIONS

Seven dedicated Guyanesesocial change agents areseeking financial assistance

to attain their Master's Degreeand build a more sustainablefuture for their communities.

These young Guyanese men andwomen reflect the nation's geo-graphic and ethnic diversity. Theywork for both government andNGOs and are engaged in adiverse array of activities to pro-mote environmental conserva-tion, conflict resolution, youthand women's empowerment, cul-tural preservation, and communi-ty development.

During their time in the FutureGenerations program they haveattended study tours in India,Nepal, the U.S., and Peru. The pro-gram's blended learning peda-gogy allows them to remain resi-dent in Guyana working for theirorganizations and communities,while they pursue their studies.They really are an amazing groupdoing great work for the country.Here are brief profiles of thegroup:

Ber tie Xav ier - Toshao ofWowetta Village.

Bertie is a leader of his village anda trainer at the Bina Hill Institutein the North Rupununi. This yearhe was elected to the U.N. Forumon Indigenous Issues as one oftwo representatives for the LatinAmerica region.

Rohan Sagar - National MusicCoordinator, Ministry of Educa-tion.

Rohan is conducting research onthe use of culture and music topromote peace and inter-ethnic sol-idarity.

Luan n a Goldie Scott - ChiefExecutive Officer, VolunteerYouth Corps.

Goldie's leads work with youth inGeorgetown's Lodge communityand around the country.

Suzan n e Mcr ae-Mun r o -Grants Coordinator, Conserva-tion International.

Based in Georgetown, Suzanneworks with communitiesthroughout the interior on pro-tected areas management. Herresearch involves the Wai-Wai in

the deep south of Region 9.

Shellon Eversley - Coordinatorfor Home Based Care forOphans and Vulnerable Chil-dren, Agape Network, Inc.

Based in Sophia, Georgetown,Shellon works on urban povertyand breaking the cycle of depen-dency for people with HIV/AIDS.

Travis Eversley - Trustee andVolunteer, Partners for Peaceand Development.

Travis works with youth in Bux-ton through sports and literacyinitiatives to promote empower-ment.

Jackie Robertson-Wilson - Pro-bation and Social Services Offi-cer, Ministry of Labor.

Jackie works in Region 8 to sup-port services to women andyouth in the complex environ-ment of the mining community ofMahdia.

GUYANA COMMUNITYSCHOLARS INITIATIVE


25

CALL FOR FINANCIAL ASSISTANCE TO COMPLETE MASTERSTangerine Clarke

26


INTERFAITH SERVICE,Of prayer, Reflectionand RededicationCELEBRATINGGUYANA’S 42ND ANNIVERSARY AS A REPUBLIC

SUNDAY, FEBRUARY 26, 20124.00 P.M.ST. AGNES & ST. PAUL’S EPISCOPAL CHURCH206 Renshaw Avenue,East Orange, NJGuest Preacher:Rev. Cynthia CarrBethel Methodist Church, PA

THE ORGANIZATION FOR SOCIAL &HEALTH ADVANCEMENT FOR GUYANAAND THE CARIBBEANTEA PARTY & HAT EXTRAVAGANZASUNDAY, APRIL 22, 2012

Rose Garden4224 Church Ave., Brooklyn, NY(corner of East 43rd St.)3:00 P.M. - 8:00 P.M.$20.00 – ADULTS $10.00 – KIDSFor tickets call:Lorna @ 646‐522‐8005 Theresa @ 347‐901‐0009 Barbara @ 718‐288‐2060 Cleveland @ 646‐872‐6074Harold @ 917‐496‐8247 Carol @ 678‐327‐3077Proceeds to benefit our 2012 MedicalMission to Guyana

REGISTER NOWGUYANA HOSTING MAJOR SUSTAIN-ABLE TOURISM CONFERENCE IN APRIL13TH ANNUALCARIBBEAN CONFERENCEON SUSTAINABLETOURISM DEVELOPMENTAPRIL 15-18, 2012For Details:www.CaribbeanSTC.com

PLAISANCEVILLAGE NIGHTvs LINDENTOWN NIGHTSaturday, March 17, 12Cafe Omar1744 Nostrand Avenue (corner of Clarendon Road)10.00pmMusic byYonette Hooper one man BandLegend SoundDJ Mad Bomber

Admission $20347-249-3243

A FORMAL AFFAIR(Aubrey Dundas)Saturday March 3rdWoodbine Ballroom2281 Church Avenue(corner of Bedford Avenue)

Music byBuster One Man BandLegend Sound & Original VibesDress to ImpressFrom 10.00pm to 4.00am

Admission $20917-940-8919

WHAT’S HAPPENING

IN THE COMMUNITY

COME OUTAND SUPPORTTHESE EVENTS

TO HAVE YOUR EVENTPROMOTED IN FUTURE

GCA NEWSLETTERS:

Contct Claire Goring

[email protected]

COMMUNITY CALENDAR OF EVENTS

Documents

Guyana Cultural Association of New York Inc.Newsletter