By Rae Wiltshire
Eyþór Jóvinsson, an Icelandic filmmaker I met in Pennsylvania shared some fascinating insights about his country. He said that in Iceland, one in every seven people has written a book, reflecting the nation’s deep literary culture. Further, with a population of about 400,000, Iceland has around 2,000 filmmakers. According to Jóvinsson, when Hollywood producers go to Iceland, they don’t take their own crews. The local population is so well-educated and skilled that there is no need to import large teams, saving production companies significant amounts of money.
Apart from Iceland’s breathtaking landscapes, this abundance of local talent is a key reason why many Hollywood films and TV shows are shot there. Jóvinsson also emphasised that Iceland has one of the highest literacy rates in the world. The country’s deep appreciation for its culture is reflected in its music, literature, and films. In fact, it is this love for culture and traditions that sustains the thriving arts scene. Gifting books is a cherished tradition in Iceland, further highlighting their literary passion. Jóvinsson owns a bookshop which has been in his family for over 100 years. He said the bookshop is very popular and sells mainly Icelandic literature.
This is all truly remarkable. There is a belief among some that Guyana’s population is too small to sustain a creative industry. Iceland has proven that this is not the case. With about 800,000 people living in Guyana, and more Guyanese living outside the country than within, more should be done to support and nurture the local creative sector.
Of course, understanding Icelandic culture requires some knowledge of its history, which has significantly shaped its identity. Iceland’s first recorded settlement dates back to the 800s, making it an old civilization with a strong tradition of record-keeping. It was settled by Vikings and as Jóvinsson explained, Iceland has the oldest democracy in the world, established in the 900s by these settlers. A quick Google search confirms this.
In contrast, Guyana remained a colonial nation until 1966. Sometimes, it feels like an uphill battle to convince our people of the value of our own art — not just the art that comes from foreign shores. This could be a lingering effect of colonialism, where we were told that we were inferior and we are still fighting to assert our identity as a people.
Iceland, on the other hand, has had centuries of written history to shape its cultural narrative, while Guyana’s culture was often suppressed or undervalued during colonial times. The difference is stark and it highlights the long-lasting impact of history on the development of a nation’s creative industries.
With that being said, and considering the weight of history, it’s clear that it is not impossible for creatives to flourish in Guyana. However, there is still a surprising lack of scholarships or opportunities for creatives to study abroad, especially now that Guyana is touted as the fastest-growing economy in the world. To many of us, this growth feels abstract. If you’re in the creative field, you know there needs to be much more investment in the industry and a significant push to upskill creatives. There are no scholarships for writers, actors, filmmakers, musicians, or photographers. Yet, strangely enough, the country loves to celebrate its creatives when they achieve success and make a name for themselves.
For example, Letitia Wright was invited to Guyana, and many actors and creatives took pride in her accomplishments. However, there was also the sentiment that the country didn’t play a role in her success. Many believe that had she stayed in Guyana, she would not have had the opportunity to star in such a major franchise. The irony of the visit was hard to ignore — she was celebrated by a country that does very little for its artistic community.
There are others, like SAINt JHN and C C H Pounder, who succeeded with their own sacrifices and that of their families. It’s clear that there needs to be a greater push to support creatives. To make this happen, investment in the creative sector is essential.
Personally, I’ve had the privilege of attending or premiering at major festivals, including recently at the largest South Asian Film Festival in Canada. But I would say that it’s been through sheer grit and hard work, in the absence of a true filmmaking industry here. I owe a lot to the internet for that. There are times I wish the path was easier, but as long as the population, private sector, and government don’t fully see the value of creatives, it will continue to be an uphill battle. However, as we say in theatre, the show must go on. Regardless of the support — or lack thereof — creatives will keep pushing forward.
