Last week I highlighted the challenges producers have been experiencing in trying to rent the National Cultural Centre. Rentals were previously the responsibility of the Administrative Manager of the National Cultural Centre but now are the responsibility of the Minister of Culture, Youth and Sport, Charles Ramson. There are producers who would have written to the minister requesting to rent the space and there was no acknowledgement or response to their letters, and in instances where they were told they could not rent it, no reason was given.
This week the theatre community received information that there are proposed increases for the rental of the National Cultural Centre. From renting the entire theatre for $80000 to now a proposed $500000. There is a portion of a document that circulated with the recommended new costs which also revealed $250000 for the lower auditorium, $125000 for the recital hall and $50000 per day for rehearsals. It must be noted that previously rehearsals were free. It must also be noted that previously when producers would pay the rental there was also a 20% service charge on tickets and 14% tax.
It has been said that a decision has not been made on increasing the rental, however, there are people who would have enquired about the cost and were told the increased prices.
Unsurprisingly the proposed increases have baffled those in the theatre industry. However, if these increases do take effect, they will not only affect the theatre industry for the National Cultural Centre is also used for graduations, award ceremonies, workshops, conferences, pageants, and other activities.
One would imagine that any government, dedicated to the development of the arts and culture would have consultations with the people who this will largely affect. One would also imagine that in a time when we are still grappling with the pandemic COVID-19 and producers have not been able do productions at the National Cultural Centre for two years, that the Ministry of Culture, Youth and Sports would be more open to working with the artistic community and creating more opportunities for the arts and culture to grow.
I often think about my experiences at Carifesta in Haiti in 2015 and in Trinidad and Tobago in 2019. Haiti was a remarkable experience. The rich culture and spirituality were like no other place I had visited. It was in Haiti that my view on what theatre could be changed. It was there the power of theatre to inspire, and transform was reinforced, and I returned to Guyana inspired and determined to be one involved in the advancement of theatre in Guyana.
Trinidad was also a rich experience. The investments in the arts and culture could be seen everywhere. I recall when a group of us Guyanese watched a Trinidadian production of the play ‘Moon on a Rainbow Shawl’ and we stood together after discussing it. We were blown away by the design of the theatre in which this production was held, by the set design, lights, sound, and the acting that made the production spectacular. We were reminded of what the possibilities are. We also felt a sense of sadness that in our country the decline and lack of support for the arts and culture was evident.
Most of the people in the theatre industry in Guyana are in it because we are gifted, and we would be discontented if we do not listen to the call of our gifts. Our talents positively impact the world. And as I would have mentioned last week, in a time of stress what better way to help alleviate the tensions than to promote the arts and culture.
These stressful times are affecting the majority. The prices for food and many services have increased. While a small section of the society is increasing their wealth and oil revenues are exciting for those who have access to it, many Guyanese feel burdened and their sweat, blood, and tears are flowing like our rivers.
I would imagine that one explanation for increasing the rental of the National Cultural Centre would be that everything else has increased (everything except wages and salaries for the majority). I would say that a reasonable increase may be fair, but how can there be any justification for moving from $80000 to $500000? And aren’t the oil revenues supposed to make things easier for all Guyanese? Are any of the oil revenues to be invested in the arts and culture? And if so, perhaps a rent-free National Cultural Centre is a possibility in the future. We can dream.
But for now, the theatre community is asking; who are the people who sat and thought of such exorbitant prices? What are their motives? Do they believe that this will encourage more producers to rent the National Cultural Centre? Am I to believe that the people behind these proposed increases do not know that this would drive another nail in the coffin of an already struggling theatre industry?
So, if there are no productions at the National Cultural Centre, what will it be used for? Does denying people the opportunity to rent a space created for the arts and culture happen in any other country in this part of the world? Does it happen anywhere? And again, I ask, what will the National Cultural Centre be used for? Will it be used for private parties? Will it be only government-sponsored events? Is someone planning to live there?
Maybe we are dealing with inconsiderate people who just do not care about the concerns of the theatre industry. Perhaps protests will inspire them to reconsider even though many people are afraid to protest because they fear victimization. We Guyanese are not forceful in demanding what we deserve. This is a society of passive people. It is the society that has emboldened many people in positions of power to create difficulties for the people with no consequences for their actions. It is society that continues to believe that politicians will solve all our problems. It is society that continues to divide itself into supporters of the opposition and supporters of the government and wearing that like it is a badge of honour. It is society that decides the politicians they approve can do no wrong. Even if they suffer because of the actions of the politicians, they will find ways to justify their suffering.
This is an opportunity for the theatre community to advocate for change. But if it is only one or two voices speaking out, who will listen? If there is no resistance to the proposed increases for the rental of the National Cultural Centre and the only resistance are conversations among friends and colleagues in WhatsApp groups and on social media, what will change? I am just asking.
