Dear Editor,
A society’s historical, habitual, traditional behaviours, characteristics, beliefs, creative expressions – whether by groups or collectively- are ever-present in the people’s midst.
Naturally, Guyana has developed its own rich multi-faceted cultural heritage as demonstrated through the sentiments mentioned in the first paragraph above. “Culture” of course, is formally defined as “refinement of intellectual and artistic taste; the customary beliefs, social forms, behaviours, material traits of a group or, collectively, a nation.” Quite often, I might add, our culture is the most important lasting legacy, the national heritage we have defined for our very identity in the wider world – our heritage – hopefully treasured.
Two observations have encouraged this brief correspondence: a letter in late September sent by Guyanese overseas Cultural Patriot, Dr Vibert Cambridge and secondly the admirable blitzkrieg of visits, interactions and pledges by the seemingly indefatigable, ubiquitous Minister of Culture, Youth and Sport Hon. Charles Ramson – within the country’s sport sector. (With just a little personal repressed mirth, I usually recall that this new Minister reportedly had boldly signalled intentions to be the PPP’s Presidential Candidate – bypassing that Party’s mechanisms – a courageous instinct indeed.)
In his late September missive Dr Cambridge advised, sometimes pleaded with, the Culture Minister to pay as much attention to “the creative arts” as was being expended on sport. To quote Dr Cambridge: “For the past five years there has been little if any systematic effort to advance the infrastructure to support the development of Guyanese creative arts. Unfortunately, the resuscitation of the Institute for the Creative Arts, which was started around 2012 under the leadership of Hon Frank Anthony became mired in the machinations of the culture sector during the last administration”.
So he was advocating for this government to attend to the promotion and preservation in a structured and sustained manner. Of course I now lend my voice and pen to that request for all the earlier obvious reasons. For even though the current pandemic has enveloped the country’s creative activity negatively, it is still now convenient to plan, to consult, to fashion policy and programmes for early implementation. Frank Anthony did try: he purchased Trinidad instruments for our National Steel Band; he came up with the Guyana Classics – a significant literary project and he did his best for Mashramani.
Now Anthony’s younger counterpart must regain that cultural momentum. Access budgets, funding, corporate support for the fine and performing arts; perhaps an old-time GUYFESTA initiative is needed to motivate rural and hinterland schools and communities to fashion cultural events and products with their own unique Guyanese brands; ministries could purchase the works of artists; more music festivals?
Before absolute power corrupted, Forbes Burnham was truly a Caribbean Visionary. It was pride and achievement for us all as he fashioned the Regional CARIFESTA in 1972. That’s a legacy worth embracing, as in Mashramani in some form.
Dr Cambridge would recall that he, as a young Guyana National Services (GNS) officer, had to confront the very real folkloric aspect of our creole culture when Anta Banta and other related “spirit-possession” entities actually engulfed GNS centres at Koriri, Kimbia, Papaya and elsewhere. (He himself had to arrange exorcism/cleansing prayers!) So from craft to Comfa; from an active music school to Recording Studios, culture cries out for comprehensive attention. Our new Minister of National Cultural Development is young and seemingly serious about his portfolio. We look to him.
On a slightly more personal note I announce that Guyenterprise Advertising Agency headed by its Cultural Enabler and assisted by Berbician-Texan Dr Tulsi Dyal Singh, is about to launch the latest literary and arts magazine Guyana Annual 2020. It has motivated young creative persons to submit works all related to creole folkloric themes. Truly interesting!
Allan Fenty has contributed to this edition and now teases with these five (5) questions: how many (grand) pianos are now functional in Guyana? Are there 12 full-fledged choirs left? Are steel-pan players being trained? Who’s in charge of teaching Amerindian dialects and languages? Is dance still in safe hands? Let’s discuss, then act.
Yours faithfully
Allan Arthur Fenty
