The Caribbean Festival of the Arts (Carifesta) is 50 years old. Yet, at its moment of golden achievement, when it should be radiant in celebratory glory, it seems to invoke blatant denunciation, criticism and serious questioning. Outside of a strong fortress of Guyanese pride, why is there a reluctance to sing the successes of this unique festival? Has it lived up to the grand aims outlined when it was planned in 1970? Where has it failed and who has it offended? Why is it that, instead of celebrating a well-earned Golden Jubilee, the question still being asked is, Whither Carifesta?
Inaugurated in Guyana on August 25, 1972, it marked its 50th birthday two Thursdays ago and perhaps the grandest celebration was the three-day symposium, “Inaugural Caribbean Festival of Arts (CARIFESTA) as Prism: Twentieth Century Festivals in the Multilingual Caribbean” hosted by the Guyana Folk Festival of New York last month and coordinated by Vibert Cambridge. That event revisited the memorable proceedings of the first Carifesta in Georgetown in 1972 and addressed documentation and research. But what do Caribbean territories have to show half a century of expenditure and investment later?
