The Little Vagabond Dear mother, dear mother, the Church is cold; But the Alehouse is healthy, and pleasant, and warm.
Christmas Bells I heard the bells on Christmas Day Their old, familiar carols play, And wild and sweet The words repeat Of peace on earth, good-will to men!
The performances in the National Drama Festival (NDF) 2015 came to a rollicking, hilarious end with the performance of a comic farce – popular theatre of a type that appeals to the contemporary audience.
The Members of the Jury have completed their very intense deliberations and debates and have reached agreement on the winners of the Guyana Prize for Literature and the Guyana Prize Caribbean Awards.
The annual National Drama Festival (NDF) of Guyana is in progress at the National Cultural Centre, running every night at 7 o’clock until November 28.
The Guyana Prize for Literature reveals an interesting mix of some of the leading writers and previous winners and a wave of very new writers among the contenders, according to the shortlist recently released.
The Theatre Guild of Guyana staged a Festival of Plays at the Playhouse in Kingston last week-end in which four new plays and playwrights were presented.
Jamaica reverberated last week with birthday tributes, programmes and performances in honour of Ranny Williams called ‘Mas Ran,’ (October 26, 1912 – August 11, 1980) who was born as Randolph Samuel Williams on October 26, 2012 in Colon, Panama.
The Commonwealth Short Story Prize is now inviting entries for its 2016 competition.
The National Dance Company of Guyana, in the performance of ‘E-Majin,’ for Dance Season 36, directed and choreographed by Vivienne Daniel, celebrated not only a product of 36 years of dance in Guyana, but demonstrated dance as a work of the imagination.
We have already commented that the ‘summer’ of 2015 was like a field lying fallow in the production of theatre in Guyana.
While the theatre agenda in Guyana is currently quite busy, the production of plays on the public stage is at a low ebb – a condition that is expected to be only temporary and is not unrelated to the business of the agenda.
Sonnets from China XVI (sometimes titled The Embassy) As evening fell the day’s oppression lifted; Far peaks came into focus; it had rained; Across wide lawns and cultured flowers drifted The conversation of the highly trained Two gardeners watched them pass and priced their shoes; A chauffer waited, reading in the drive, For them to finish their exchange of views; It seemed a picture of the private life.
Kanaima / Tiger (for Richard and David) In the darkest middle of the rubber walk where the interweave of overhanging branches was thick above the road, the four schoolboys walking home (loitering in the roadside bush, collecting shiny rubber seeds in their wooden pods) suddenly stopped – movement, talk, breath, all stopped: for there in the road, yards ahead, stood a black tiger.
Pocomania Long Mountain, rise, Lift you’ shoulder, blot the moon, Black the stars, hide the skies, Long Mountain, rise, lift you shoulder high.
(Continued from last week) As we continue to focus on Carifesta XII which was held in Port au Prince, Haiti, from August 21-30 and closed its curtains exactly one week ago, we find ourselves still confronting the persistent and overriding significance of Haiti as a venue for this Caribbean festival.
President Martelly of Haiti speaking at the Grand Opening of Carifesta XII in Port Au Prince declared that there are two Haitis: “the Haiti that CNN talks about and the Haiti that we know.” The curtains will come down to close the Twelfth Caribbean Festival of the Arts this evening at the Kiosk – a version of the Greek styled open air auditorium – and by this time different faces of the host country will have uncovered themselves.
A production titled Performance 4: The Resurrection was presented by the National School of Theatre Arts and Drama at the Cultural Centre the week before last.
The Republic of Haiti holds an exceedingly significant place in the Caribbean. This is for different reasons, some recent: it will host Carifesta XII later this month; some historical: its role in Emancipation.
1st of August, 1838 ‘O ye first of August freed men who now liberty enjoy Salute the day and shout hurrah to Queen Victoria; On this glad day the galling chains of slavery were broke From off the necks of Afric’s sons who bled beneath its yoke.
Critics of the popular play in contemporary drama, and very specifically those in the Caribbean and Guyana, often hold it up against what is called ‘serious’ theatre.
A number of Guyanese plays that began to develop after 1981 belonged to the period of the popularisation of drama in Guyana and the rise of a new, popular and populous audience for theatre.
The Lorelei I know not if there is a reason Why I am so sad at heart.
Last week we analysed the rise of two productions in the Guyanese popular theatre in the context of trends that have developed in the Caribbean region and in Guyana.
It is always of infinite interest to take a close look at trends in theatre in Guyana while casting a glance across the Caribbean to see how they measure up.
Last week we considered what constitutes Guyanese Literature in the Pre-Independence era, focusing on the Colonial period.
It is convenient, but properly justified by theme, form and history, to define Guyanese Literature into a number of periods starting from its early beginnings.
What is Guyanese Art? To what extent can this be answered by the exhibition ‘Abs-tract Art in the National Collection currently on show at the National Gallery, Castellani House?
In spite of the many debates that there have always been about it, there is generally fair consensus about what constitutes a national literature.
In Trinidad and Tobago a national holiday is observed in recognition of a traditional folk religion.
Since 1982 there has been an International Dance Day observed by countries around the world.
The Wizard of Oz is very well known as a story repeatedly told in various forms and reproductions for over 100 years.
During the National Drama Festival in 2013 and again last year in Guyana, it would have been noted that there were multiple entries of plays written by Guyanese dramatist Paloma Mohamed, performed by different groups.
There are several ways in which theatre education in Guyana in its widest context has been broadening its scope and attempting to achieve greater depth at a national level.
Easter 1916 I I have met them at close of day Coming with vivid faces From counter or desk among grey Eighteenth-century houses.
The rain set early in to-night, The sullen wind was soon awake, It tore the elm-tops down for spite, And did its worst to vex the lake: I listened with heart fit to break.
Siren Song This is the one song everyone would like to learn: the song that is irresistible: the song that forces men to leap overboard in squadrons even though they see beached skulls the song nobody knows because anyone who heard it is dead, and the others can’t remember.
Colonial Girls School for Marlene Smith MacLeish Borrowed images willed our skins pale muffled our laughter lowered our voices let out our hems dekinked our hair denied our sex in gym tunics and bloomers harnessed our voices to madrigals and genteel airs yoked our minds to declensions in Latin and the language of Shakespeare
The practice of producing plays on the public stage for the benefit of CXC study is back.
Link Show 31 continues its historical run as the most significant achievement in Guyanese theatre.
The annual Republic of Guyana Distinguished Lecture Series, established in 2011, continued last week with a lecture that provided, as has been the intention, an opportunity for intellectual engagement with concepts that define Guyana as a nation as a part of the celebration of Mashramani and the anniversary of Republicanism.
Naya Zamana 19: A Royal Twist presented two weeks ago as a repeat performance by the Guyana Hindu Dharmic Sabha is worth revisiting.
‘It is universally acknowledged’ that good creative writers do not write for prizes.
The relationship between the carnival season in the Caribbean and Guyana’s Mashramani is very easily disguised.
(Alim A Hosein is Dean of Education and Humanities at the University of Guyana; a linguist, artist, literary and art critic; Convenor of the Guyana Visual Arts Competition and Exhibition; Member of the Management Committee of the Guyana Prize for Literature) By Alim Hosein A book of artwork titled Panorama – A Portrait of Guyana was launched at Cara Lodge on Monday January 12.
Dialogue For One (for the NDTC) in this reflective exercise the bodies imitate contraction and release
A theatrical performance with two plays is to be staged at the National Cultural Centre on Saturday, January 17.
By Alim Hosein Alim A. Hosein is Dean of Education and Humanities at the University of Guyana; a linguist, literary and art critic, artist, member of the Management Committee of the Guyana Prize for Literature and Coordinator of the Guyana Visual Arts Competition and Exhibition (GVACE) The Awards ceremony held on December 17 at the National Cultural Centre brought an end to the public events in the 2014 Guyana Visual Arts Competition and Exhibition.
Sonnet 123 No. Time, thou shalt not boast that I do change Thy pyramids built up with newer might To me are nothing novel, nothing strange; They are but dressings of a former sight.
Caribbean History A flower falls on a leaf, the forest sleeps, and waves are on holiday El Dorado sings of love as Columbus listens in a plastic boat.