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.