Mark this for a mercy; that here birds, even here, sustain the wide and impossible highways of warm current, divide the sky; mark this- they all day have amazed the air, that it falls apart from their heavy wings in thin wedges of sound; though the dull black earth is very still, sweating a special sourness they make high over the hard thorn-trees their own magnificent turning, they chain all together with very slow journeys to and fro the limits of the dead place; smelling anything old and no longer quick.
The Embassy of Mexico in Guyana continued its series of Mexican cultural events with a photographic exhibition outstanding for its show of images, colour and words as it was notorious for its under-representation and unexploited opportunity.
Cassia Alphonso’s Black Cake Mix, won the award for Best Book of Poetry in the 2012 Guyana Prize for Literature, jointly with Ian McDonald’s The Comfort of All Things.
By Al Creighton This is an edited version of three features which appeared in Sunday Stabroek on October 24, October 31 and November 7, 2010.
One of the very interesting traditional festivals that still exist in the Caribbean has its grand performance at the end of August each year.
The Guyana Prize for Literature Awards 2012 will be announced and presented tonight at the Awards Presentation to be held at the Pegasus Hotel starting at 7.00pm.
A part of the Amerindian heritage that is very well known, highly visible and accessible is the literature.
When the Guyanese nation celebrates Amerindian heritage it is like celebrating Guyana itself.
Carifesta XI, 2013, closes its curtains today in Paramaribo, Suriname. At its closing this evening it is expected that Haiti will be declared the host and the venue for Carifesta XII in 2015.
Carifesta – the Caribbean Festival of the Arts is experiencing another revival. The eleventh regional festival is currently being held in Suriname, having officially opened in Paramaribo last Friday evening and will run from August 16 to 25.
By Lori Shelbourn There is unending curiosity about the way Wilson Harris writes.
On each anniversary of Emancipation the African presence in the Caribbean is celebrated; whatever can be exhibited of the cultural traditions is highlighted and the performing arts pay tribute to the African vestiges that they can claim.
Ronald Hollingsworth over the years has risen to be among the most prominent and established Guyanese dramatists – as both playwright and director.
Not wanting to deny, I believed it. Not wanting to believe it I denied our Bastille Day.
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.
In considering recent offerings of new plays in Guyana, one can sense what seems to be a current trend developing.
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.
(Kris Rampersad, Littscapes: Landscapes of Fiction from Trinidad and Tobago, St Augustine, Trinidad, 2012 : 200 p.) In reading this work we find a neat kind of confluence.
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.
Nanny My womb was sealed with molten wax of killer bees for nothing should enter nothing should leave the state of perpetual siege the condition of the warrior.
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.