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THE ARTS JOURNAL CRITICAL PERSPECTIVES ON CONTEMPORARY LITERATURE, HISTORY, ART AND CULTURE OF GUYANA AND THE CARIBBEAN Volume 6 Numbers 1&2 September 2010 Home and Away from Home Front Cover: Donald Locke The Home of the Who-You Bird, 2005. Pencil on paper Contents: Words and Images from Mexico: Four Poems, Four Works. Eliff Lara Astorga Sonnet to a Love Lost at Fort Groyne. Brenda Chester DoHarris An Interview with Wilson Harris. Michael Gilkes The Town and I. Stephanie Bowry Tale of Another Crossing: Brigid Wells: The Diary. Roxana Kawall To The Running of My River. Grace Nichols The Distinctive Indo-Caribbean Art and Voice of Harold Sonny Ladoo. Professor Victor J. Ramraj Welcome to the Plantation: Three Novels by David Dabydeen. Keith Jardim VISUAL ARTS: The Artist Donald Locke: Notes on a Career and its Development. Carl E. Hazelwood CREATIVE WRITING: New Poems by Stanley Greaves Poems by Grace Nichols New Poems by Mahadai Das Poems by Stephanie Bowry Poems by Cicely Rodway An extract from ‘Moving House’ ... a Guyana childhood. Michael Gilkes An extract from Tell Us We’re Home. Marina Budhos BOOK REVIEWS: Mariam Pirbhai. Mythologies of Migration, Vocabularies of Indenture: Novels of the South Asian Diaspora in Africa, the Caribbean, and Asia-Pacific. Ameena Gafoor Cyril Dabydeen. Imaginary Origins: Selected Poems 1970-2002. Mariam Pirbhai Edward Baugh. Frank Collymore: A Biography. Ameena Gafoor Wilson Harris, The Ghost of Memory. Michael Gilkes N.D. Williams. Julie Mango. Frank Birbalsingh Particia Dathan. Bauxite, Sugar and Mud: Memories of Living in Colonial Guyana 192-1944. Frank Birbalsingh Rex Nettleford. Dance Jamaica: Renewal and Continuity: The National Dance Theatre Company of Jamaica 1962-2008. L’Antoinette Osunide Stines Lawrence Hill. The Book of Negros. Judith Misrahi-Barak PRICE: In Guyana: G$2,500.00. All other countries: US$20.00 plus nominal postage. FOR SUBSCRIPTIONS: Ameena Gafoor: [email protected] or Telephone: 592 227 6825 Bernadette Persaud: [email protected] or Telephone: 592 220 3337 For BACK ISSUES are available Website: www.theartsjournal.org.gy.

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ART of the CARIBBEAN ‘A Wonderful Set of Images Which Helps to Re-Define the Boundaries of the Caribbean for a British Onlooker
PartGOODWILL 1 — Caribbean TEACHING art history GUIDE — the essential teaching resource for craft, design and culture LIST OF CONTENTS ART OF THE CARIBBEAN ‘A wonderful set of images which helps to re-define the boundaries of the Caribbean for a British onlooker. The visual art is supported by concise and effective background material, both historical and textual’. Dr. Paul Dash, Department of Education, Goldsmith’s College. LIST OF CONTENTS PART 3 This set explores Caribbean culture Looking at the pictures and its arresting visual art Unknown Taino Artist, Jamaica, Avian Figure Introduction Isaac Mendes Belisario, Jamaica, House John Canoe Map of the Caribbean Georges Liautaud, Haiti, Le Major Jonc Time-line Annalee Davis, Barbados, This Land of Mine: Past, Present and Future John Dunkley, Jamaica, Banana Plantation Wifredo Lam, Cuba, The Chair PART 1 Raul Martinez, Cuba, Cuba Caribbean art history Edna Manley, England/Jamaica, The Voice Colonial Cuba Unknown Djuka Artist, Suriname, Apinti Drum Cuban art since1902 Everald Brown, Jamaica, Instrument for Four People Stanley Greaves Caribbean Man No. 2 Colonial Saint-Domingue Aubrey Williams, Guyana/England, Shostakovich 3rd Symphony Cecil Baugh, Jamaica, Global Vase with Egyptian blue running glaze Haitian art since 1811 Stephanie Correia, Guyana, Tuma 1 Dutch West-Indian colonies Philip Moore, Guyana, Bat and Ball Fantasy British West Indies Ronald Moody, Jamaica/England, Midonz (Goddess of Transmutation) English-speaking Caribbean: Jamaica, Stanley Greaves, Guyana/Barbados, Caribbean Man No. 2 Barbados, Guyana, Trinidad, Wilson Bigaud, Haiti, Zombies Ras Aykem-i Ramsay, Barbados, Moses For easy navigation blue signals a link to a Caribbean-born artists in Britain Pen Cayetano, Belize, A Belizean History: Triumph of Unity relevant page.
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Between a Promise and a Trench: Citizenship, Vulnerability, and Climate Change in Guyana Sarah E. Vaughn Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Sarah E. Vaughn All rights reserved ABSTRACT Between a Promise and a Trench: Citizenship, Vulnerability, and Climate Change in Guyana Sarah E. Vaughn Between a Promise and a Trench examines how science is constituted as a strategic practice and site through which citizens make claims about racial democracy in Guyana. It shows how government policymaking around climate adaptation--which drew upon the recommendations of outside actors, including the Intergovernmental Panel on Climate Change (IPCC), the United Nations (UN), and various NGOs and international scientific networks-- profoundly disrupted the country's delicate racial-ethnic balance. A contribution to the burgeoning anthropology on the social and political impact of climate change, the dissertation also speaks to current debates over race and citizenship, the complex relationship between expertise and democracy, and the competing post-colonial claims of Indo-, Afro-, and Amerindian Guyanese to land and self-determination. The dissertation is based on seventeen months of fieldwork and archival research conducted between, 2009-11 in coastal Guyana. It brings together three conflicting perspectives: of engineers, who drew upon datasets and models about flooding and construction of canals around IPCC and UN climate data; the state officials, who sought to reduce vulnerability to flood hazards through land evictions; and of Indo-, Afro-, and Amerindian Guyanese farmers and squatters who were evicted as a result of post-2005 engineering projects.
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1 Renée Cox (Jamaica, 1960; lives & works in New York) “Redcoat,” from Queen Nanny of the Maroons series, 2004 Color digital inket print on watercolor paper, AP 1, 76 x 44 in. (193 x 111.8 cm) Courtesy of the artist Caribbean: Crossroads of the World, organized This exhibition is organized into six themes by El Museo del Barrio in collaboration with the that consider the objects from various cultural, Queens Museum of Art and The Studio Museum in geographic, historical and visual standpoints: Harlem, explores the complexity of the Caribbean Shades of History, Land of the Outlaw, Patriot region, from the Haitian Revolution (1791–1804) to Acts, Counterpoints, Kingdoms of this World and the present. The culmination of nearly a decade Fluid Motions. of collaborative research and scholarship, this exhibition gathers objects that highlight more than At The Studio Museum in Harlem, Shades of two hundred years of history, art and visual culture History explores how artists have perceived from the Caribbean basin and its diaspora. the significance of race and its relevance to the social development, history and culture of the Caribbean: Crossroads engages the rich history of Caribbean, beginning with the pivotal Haitian the Caribbean and its transatlantic cultures. The Revolution. Land of the Outlaw features works broad range of themes examined in this multi- of art that examine dual perceptions of the venue project draws attention to diverse views Caribbean—as both a utopic place of pleasure and of the contemporary Caribbean, and sheds new a land of lawlessness—and investigate historical light on the encounters and exchanges among and contemporary interpretations of the “outlaw.” the countries and territories comprising the New World.
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Meeting Denis – a Mind Engaged —— a Tribute to Denis Williams (1923–1998)1
Meeting Denis – A Mind Engaged —— A Tribute to Denis Williams (1923–1998)1 STANLEY GREAVES Y FIRST ‘MEETING’ with Denis Williams took place in the British Guiana Museum of the 1940s – destroyed by fire M in 1945, rebuilt before Independence in 1966, and renamed the Guyana Museum. This ‘meeting’ took the form of looking at a small oil painting of a boy. On Saturday mornings I ran errands to Stabroek market for my mother, Priscilla. The museum was equidistant between my home and the market. A visit to my favourite exhibits before doing the errands provided much pleasure. Of particular interest was the small art gallery, where I enjoyed looking at a few paintings and engravings be- cause of my own efforts in drawing. Assuming he was a schoolboy like myself, my identification with the portrait was total. I visited it every time and often wondered what kind of a person the artist Denis Williams was, a question destined to be answered in full about twenty-eight years later. In the intervening period I did learn something about him. I had be- come a member of the Working People’s Art Class (WPAC), which had been founded by Edward Rupert Burrowes in 1948, the same year in which I joined. It was from Burrowes, “Erb” to most of us privately, that I learnt Williams had been a member of the Guyanese Art Group founded in 1931 under the name of the British Guiana Arts and Crafts Society. He 1 My acknowledgements to Elfrieda Bissember, Director and Curator of the National Collection, Guyana; to Robert Cummings, Head of the Burrowes School of Art in Guyana, for providing dates I did not have; to Anne Walmsley, UK, Caribbean researcher, and to Therese Hadchity of Zemicon Gallery, Barbados.
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On-Line Magazine
Guyana Cultural Association of New York Inc.on-line Magazine Mar. 28 2015 Vol. 5 Issue 3 TM FOLLOWING IN THE FOOTSTEPS OF STRONG & TALENTED GUYANESE WOMEN I am Charisse Guyana Cultural Association of New York Inc. on-line Magazine LETTER FROM THE EDITOR or those who experienced it, this was easily one of the harshest winters IN THIS ISSUE 2 in North America. And inasmuch as we welcomed spring just a few days PAGE 3-4: Happy Easter ago, the temperatures linger determinedly at cold instead of warming. PAGE 5 - 10: Happy Phagwah F PAGE 11-14: Burrowes School Did Mother Nature have it in for us this time around or is this merely a change 40th anniversary in weather patterns to which we will ultimately become accustomed. PAGE 15-22:Celebrating Guyanese In complicity with the weather is the plethora of sadness and turmoil con- Women fronting our world: horrific deaths and tragic losses abound, not the least of PAGE - 23 - 25: Steelband in Guyana PAGE 26- 28: Maestro Fresh Wes which was the recent airline disaster. It forces us to acknowledge with grati- PAGE 30 - 31”: Guyana National Sound tude, much of what is generally taken for granted. PAGE 32:: Sigma Alpha tragedy But here we are nevertheless, anticipating the “crispness” of the new season PAGE 33 - 34: Dis Time Nah Lang Time PAGE 37: Cultures Endure and the accompanying burst of color. And as we await, we also look forward to our “Spring Renewal”, a season of hope and promise. Gail A. Nunes- On this month’s cover, our beaming Charisse is the epitome of that promise.
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Parliament of Guyana HISTORICAL INFORMATION EVENTS & DATES ON THE PARLIAMENT OF GUYANA fromCompiled 1718 and Produced to 2006 by Frank A. Narain, A.A., C.C.H., Former Clerk of the National Assembly 15th January, 2007 Knowledge is of two kinds. We know a subject ourselves, or We know where we can find information on it - Samuel Johnson, English poet, critic, and lexicographer (1709-84) This copy of this File with the Historical Information on the Parliament of Guyana from 1718 to 2006 which has been Compiled and Produced By Frank A. Narain Former Clerk of the National Assembly has been Presented To …………………….…………………………..…………… ………………….……………………………..…………… With the Compliments of Frank A. Narain © 2009 Parliament of Guyana 1 PART I PRELIMINARY Contents Preface and Introduction Abbreviations used in this File Sources of Information 2 CONTENTS Part I - Preliminary 1. Preface and Introduction 11 2. Abbreviations used in this File 19 3. Sources of Information 20 Part II - Arrivals 4. The Discovery of the Country 23 5. First Arrivals and Settlers in and Ownership of the Colonies 24 Part III - Legislative Periods, Names of Legislative Bodies, First Members of Legislative Bodies, and Some Events with Dates 1718-2006 6. 1718 to 1803 The Dutch Law-Making Body – The Court of Policy 29 7. 1803 to 1928 Ownership by the British -Continuation of the Dutch Court of Policy 30 8. 1928 to 1930 British Crown Colony- The First Legislative Council of British Guiana 32 9. 1930 to 1935 The Second Legislative Council 33 10. 1935 to 1947 The Third Legislative Council 35 11. 1947 to 1953 The Fourth Legislative Council 37 12.
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Gca June 2017 Magazine
GuyanaGuyana Cultural Cultural Association Association ofof NewNew York York Inc. Inc.on-lineon-line Magazine Magazine Jun 30 2017 Vol 7 Issue 6 TM GUYANA CULTURAL ASSOCIATION OF NEW YORK, INC. CONGRATULATIONS TO THE RECIPIENTS OF THE 2017 GCA AWARDS & WINNERS OF THE GODFREY CHIN PRIZE GEORGE SIMON DR. WALTER EDWARDS GODFREY WRAY MERCEDES PIERRE AILEEN HINTZEN CLIVE PROWELL ROMOLA LUCAS ! ! GUYANA CHRISTIAN LINGER FRANCISCO WALTER ROTH AMERINDIAN MUSEUM RESEARCH CENTER JOHN AARON CHARITIES, CANADA RUEL JOHNSON DESMOND ALLI “Mighty Sparrow” UNIVERSITY GUYANA 0F ANTHROPOLOGY ANYTHING GUYANESE CANADA GUYANA %%%%%%%% FIRST- LLOYD OUTREACH HEALTHFIRST NEIL MARKS PHILLIPS, Founder MISSION LEAR MATTHEWS T. ERICMATTHEWS AMANDA RICHARDS Guyana Cultural Association of New York Inc. on-line IN THIS ISSUE PAGE 6: GCA Awards Honorees EDITORIAL PAGE 7 :Godfrey Chin Winners 2 PAGE 11-11: Music Industry Crisis Welcome to our 2017 Guyana Folk Festival season. PAGE 12-21:: GCA SWS The mission of the Guyana Cultural Association is to study and to celebrate 3 PAGE 22-27: Timehri Designs Guyana’s rich multiethnic heritage, as well as to encourage and to promote PAGE 28-30: Symposium 2017 Guyanese creativity. PAGE 31-35: Folk Festival Family Day PAGE 37: Fatherhood In addition to sharing stories from the diaspora and the homeland, this edition focuses on the theme for this season— “Celebrating Our Indigenous Heritage.” • The Dr. Desrey Caesar-Fox Memorial Lecture by Dr. Walter E. Edwards [Thursday, August 31, Guyana Arts Our theme represents another example of our “We Bridging …” workplan, which Editor & Cultural Center, 2806 Newkirk Avenue, Brooklyn, NY 11226. Welcome and reception from 5:00 pm.
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Brown, Everald CV
210 eleventh avenue, ste 201 new york, ny 10001 t 212 226 3768 f 212 226 0155 CAVIN-MORRIS GALLERY e [email protected] www.cavinmorris.com EVERALD BROWN (born 1917 in Clarendon, Jamaica; died 2003 in Brooklyn,! NY) A carpenter by trade, Brown began painting and carving in the late 1960’s while living in Kingston. At this time Brown, who was a self-ordained priest of a sect related to the Ethiopian Orthodox Church, was inspired by a vision to decorate a small church he had built. In addition to adorning the church with his paintings, he also carved ceremonial objects for it. These ﬁrst works were very well received not only by his own congregation, but by other visitors. This encouraged Brown to continue painting and carving. He began participating in exhibitions and in the early 1970’s received several awards for his work. Because of the close connection between Brown’s artistic and spiritual life, his imagery drew heavily upon his spiritual experiences (including his interest in Rastafarianism), and his visions. In the early 1970’s Brown left Kingston to move to the country with his family. They settled in the remote district of Murray Mountain, the hills near St. Ann. Here on a limestone hill, named Meditation Heights, Brown built a house. The early years on Murray Mountain were especially productive and Brown produced many works, including the ﬁrst of his highly decorative musical instruments (the drums, dove harps and star banjoes). Since then Brown has continued to live and work in his private sanctuary on Murray Mountain, inspired by nature and his mystical !visions.
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EDDIE CHAMBERS CV 1 Curriculum Vitae EDDIE CHAMBERS Www
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Art in the Caribbean: an Introduction by Anne Walmsley and Stanley
Eliane Mackintosh is an MPhil/PhD candidate in.Art History at Birkbeck. Her research focuses on the brief history of visual arts in Martinique, charting its progress from a post-colonial beginning when local artists were heavily influenced by French st masters, to the 21 century. Email: [email protected] Book Review Art in the Caribbean: An Introduction by Anne Walmsley and Stanley Greaves New Beacon Books Ltd, 2010, 184 pp., £20, ISBN 978-1-873201-220 / Eliane Mackintosh ON THE EVENING OF 15 OCTOBER 2010, Art in the Caribbean, a slim, colourful and informative book by Anne Walmsley and Stanley Greaves, was launched, appropriately enough, in the October Gallery. This intimate, elegant and lofty space in the heart of Bloomsbury was a fitting place to launch the book in more ways than one. Art in the Caribbean charts the artistic voyage of an archipelago which holds few permanent exhibitions and where (with the exception of Haiti and Cuba) artists and their works are little known even on home turf. As such, it is a work that is harmonious with the intentions of the creators of the October Gallery, which ‘opened in 1979 to exhibit the Transvangarde – the trans-cultural avant-garde – and to promote artists developing new creative strategies around the world’.1 The Transvangarde exhibition of 2010 included El Anatsui’s In the World But Don’t Know the World? an aluminium and metal structure recently premiered at the 2009 Moscow Biennale of Contemporary Art. The Ghanaian artist is famed for having wrapped the facade of the Palazzo Fortuni in a shimmering metal cloth woven from myriads of bottle caps during the 52nd Venice biennale.
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