The performance of a play in Georgetown, Pleasing Mrs Jones, by a Linden drama group led by Mike James revealed a number of very interesting developments in the popular theatre that suggest the way Guyana is reflecting current regional trends.
This subject was earlier approached in a publication The Walter Rodney Factor in West Indian Literature by Al Creighton and partly carried in ‘Arts on Sunday.’ What is included here, however, is updated, current material which benefits from new research.
The pantomime is an important and popular tradition in the Caribbean theatre. The production for the 2012-13 season, popularly known simply as ‘pantomime’ is Schoolahs by Barbara Gloudon, which has been running since December 26, 2012 at The Little Theatre in Kingston.
Students of English at the University of Guyana over the past two years have been going out into the field to collect samples of Guyanese oral literature.
Coffee in Heaven You’ll be greeted by a nice cup of coffee when you get to heaven and strains of angelic harmony.
Among the events held in Guyana to commemorate Arrival Day 2013 were an exhibition by the Ministry of Culture at the National Museum and the staging of Nrityageet 34 at the National Cultural Centre in conjunction with an exhibition of art presented by ICT under the theme The Struggle of Memory Against Forgetting.
Foremost among the ‘Bard’s’ outstanding qualities are the timelessness and profundity of so many of his poetic lines.
The screening of Brown Sugar Too Bitter For Me in Georgetown last week marks not only the release of the latest work in the building of a Guyanese film industry, but the third attempt to treat issues and struggles in the sugar industry in a movie.
William Shakespeare (April 23, 1564-April 23, 1616) is the subject of intensified attention this weekend in his birthplace Stratford, England, and the rest of the world will take notice this week Tuesday, because April 23 will mark the celebration of Shakespeare’s birthday.
We have on previous occasions commented on the theatre of comedy as a tradition in the Caribbean, its changing trends and the way it has grown to become serious business in the Guyanese theatre.
We returned to our places, these kingdoms But no longer at ease here, in the old dispensation With an alien people clutching their gods Eliot, “The Journey of the Magi” Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity.
While Anansi stories are dominant in the folk tales of the Caribbean, they were also a favourite in the storytelling tradition when it was a popular past-time in the region.
World Story-telling Day is celebrated across the globe in several different countries. What started in Sweden in 1990 or 1991 (the records are not specific) as an organised event faded out and became sporadic before it gained sufficient recognition to be an annual event observed in several countries annually on March 20, as it now is.
Guyana’s National Dance Company (NDC) staged their first public performance of 2013 with a full dance production at the Theatre Guild Playhouse in February.
What mighty contests rise from trivial Things -Pope The Rape of the Lock …divers coloured fans, whose wind did seem to glow the delicate cheeks which they did cool, and what they undid did – Shakespeare Antony and Cleopatra Guyana’s major national festival Mashramani exploded in colour, spectacle, performance, revelry and music in February 2013 as the nation celebrated its Republic anniversary.
In a number of important ways the performance of the GT&T Link Show 29 in February and March of 2013 may be recorded as an achievement, while in a few other areas there are questions and blemishes.
This is an edited text of the Keynote Address by Al Creighton delivered at the Opening of the School of Drama and Theatre Arts on January 29, 2013.
This discourse on the power and social responsibility of theatre-goers by Desryn Jones-Collins was written in response to the ‘Arts on Sunday’ feature ‘A Season of Theatre’ published in Sunday Stabroek on January 13, 2013.
Today is celebrated as the Chinese New Year which ushers in ‘the year of the snake,’ a year in which Guyana commemorates the 160th anniversary of the arrival of Chinese in Guyana.
Guyana’s National Dance Company presented Suites for its Dance Season 2012 in late November.
This season is known for theatre in the Caribbean. Curiously, this theatre exists and has sprung from two different traditions: one that takes place on the formal (western) stage, and another belonging to the traditional theatre of the folk.
There is no human experience that has not been dealt with in literature.
By Alim Hosein Alim Hosein is a linguist, lecturing in the Department of Language and Cultural Studies in the School of Education and Humanities at the University of Guyana.
A few thousand members of Guyana’s theatre audience were entertained by a variety of dramatic performances in the recently concluded 2012 National Drama Festival.
Edgar Mittelholzer (1909-1965) is a major Guyanese writer. Not only is he one of the most recognized Guyanese writers, but the nation accords him a most distinguished place in its literature and heritage.
Guyana’s second National Drama Festival (NDF) was held in September-October 2012 at the National Cultural Centre in Georgetown and Lichas Hall, Linden.
What is art? It is an expression, an illusion, a love. It is the revealing of the thoughts in one’s mind, yet it is the sacred thing of the soul.
We have on a number of occasions analysed the state of dance in Guyana, the factors contributing to the way it has developed over the past 35 years, the pre-Independence traditions, the element of formal training, and the notable rise of schools, companies and dance theatre productions.
We have been commenting on the state of training in the performing arts in Guyana.
The Theatre Guild of Guyana has a history of functioning as a nursery for the production of new theatre talent.
Wheel And Come Again – An Anthology of Reggae Poetry was published by Peepal Tree Press in the UK in 1998 and edited by Kwame Dawes.
Everything on earth is changing – bit by bit – right now – in front of our very eyes.
If one were to look at the heritage of Amerindian arts and culture in Guyana from the perspective of records and treatment in the colonial period one will find mixed attitudes and treatments – from serious study to superficiality, stereotyping and romanticism; from thorough and valuable documentation to disapproval and scepticism.
. . . Seven days now this womb of sacred waters Has made its marriage with oblivion Over the sounding cliff of rock and I Amalivaca in this tiny wedge Driven between the witness centuries, Have drowned my mind within the moving flood, Married my human to watery particles Searching the smoothness secret of its power.
By Alim Hosein Guyana has a long history of visual art competitions, going back to the colonial days.
The British Caribbean celebrates 50 years of nationhood in 2012. Although most of the territories did not become independent until the years between 1966 and the 1970s, the age of ‘the Caribbean Nation’ is defined by the year 1962 when the first two islands gained Independence.
The Guiana Shield is mostly defined in geographical and geological terms since its location, landscape, earth structure and vegetation are what define it.
Dance theatre in the Caribbean has developed in a number of interesting and increasingly important directions.
The year 2012 is generally regarded as the 50th anniversary of Independence in the Caribbean.
We have previously made comments on different factors concerning Emancipation and the state of African culture in Guyana and the Caribbean.
In the Caribbean there are several cultural forms and events that tend to associate themselves with the First of August.
The Caribbean performance traditions have always included very strong forms of comedy. These have included indigenous forms, the influences of the popular culture, imported styles and various types of stage performance.
Guyanese playwright Ronald Hollingsworth has over the years earned a place for himself on the contemporary Guyanese stage.
Over many years the Embassy of the United States of America in Georgetown has been involved in a range of artistic presentations in Guyana.
Apart from ER Braithwaite, June is also the month in which another Guyanese writer was born.
In another ten days, on June 27, 2012, one of Guyana’s celebrated writers will be 100 years old.
When it comes to reflection on the quality of life in one’s own time, there is always the looking back to a past ‘golden age’ when things were better.