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Guyana Cultural Association of New York Inc. on-line Magazine

Guyana Cultural Association of New York Inc. Newsletter

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July 15, 2012 Vol. 7 Issue 1

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Page 1: Guyana Cultural Association of New York Inc. Newsletter

Guyana Cultural Association of New York Inc. on-line Magazine

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Guyana Cultural Association of New York Inc. on-line Magazine

LETTER FROM THE GUEST EDITOR

In this edition of our on-line magazine,the Guyana Cultural Association of NewYork, Inc. shines the spotlight onGuyanese musical creativity and musicin Guyana. We have done this regularlyover the past decade as we carried outour mission to “preserve, promote, andpropagate” Guyana’s rich cultural her-itage. We have organized symposia (forexample, Celebrating our MusicHeritage in 2003; Celebrating GuyaneseDance, 2005,), published a well-received newspaper series (“Celebratingour Creative Personalities” in SundayStabroek 2003-2006), issued in 2003Music Orchids for You: Is We Ting—acompilation CD of iconic Guyanesemusic, published a collection of essays(Writings on Guyanese Music 2003 -2004 published by the Department ofAfrican American Studies, OhioUniversity, 2005), and encouraged andsupported original ethno-music researchby Dr. Gillian Richards-Greaves andRohan Sagar on Kwe Kwe, Banshikiliand other Guyanese musical traditions.

We continue this work in this edition.We express our heartiest congratulationsto the Woodside Choir, Medal ofService, on its 60th Anniversary. Its con-tributions to Guyana’s musical life aretruly appreciated. We also direct ourattention to a range of themes, institutions,and personalities that have contributedto musical life in Guyana.

Sara Bharrat’s essay on music and Hinduiconography offers valuable insight onthe place of music in one of Guyana’smajor religions. Reflective autobiographyand biography are also dominantthemes in this edition. Serna Hewittreflects on her father’s pioneering pub-lications on Guyanese folk music. DerryEtkins and Maureen Marks-Mendoncashare with us their experiences grow-ing up in Guyana. Margaret Lawrenceand I report on recent interviews withRudolph “Putagee”Vivierios and theMighty Enchanter. Marilyn Massiah’sarticle speaks to the power of music to

calm a society. She reflects on RafiqKhan and Hugh Cholmondeley’s use ofNesbit Chhangur’s “Guiana Lament” as acalming asset during Guyana’s dark andturbulent 1960s.

Dr. Gillian Richards–Greaves and RohanSagar share aspects of their currentresearch on Guyanese folk music. PeterHalder speaks to the intersection ofmusic and social dance during the1940s and 1950s in Guyana.

Some of the contributors challenge usto look at the present and think aboutthe future. Maureen Marks-Mendoncasynthesizes the FaceBook conversation“Why Guyanese love Oldies?” Fay Clarkreports on the place of music in therehabilitation of Guyanese prisoners. Areflection piece is also offered on musiceducation in Guyana.

Altogether, this edition is a contributionto broadening the appreciation of themultiple dimensions of Guyanese her-itage. Without an appreciation of theplace of music in urban, rural, and hin-terland Guyana, we will have an incom-plete picture of Guyanese history andthe textures of its rich heritage.

Music is a valuable barometer of thestate of contemporary Guyana. Musicconnects Guyana with its substantialdiaspora. Music will have a special roleto play not only in visualizing Guyana’sfuture but also in constructing a trulyparticipatory society in which all voiceshave a chance to be heard.

There are also links to video materialson YouTube. The announcement byHugh Hamilton about GCA’s radio pro-gram on One Caribbean Radio onAugust 5, 2012 will provide us withanother platform to preserve, promote,and propagate Guyana’s musical creativity.

There is still much work to be done andGCA will remain committed to the taskof preserving, promoting, and propagatingGuyana’s musical heritage. We hopeyou enjoy this edition. Your ongoingsupport for the 2012 Folk Festival sea-son is anticipated. Please send anythoughts, photographs, or any otherinformation on Guyanese music andmusic in Guyana to [email protected].

Vibert C. Cambridge, Ph.D., President, Guyana CulturalAssociation of New York, Inc., andGuest Editor

IN THIS ISSUEPAGE 3: Woodside ChoirPAGE 4: About the Cover DesignPAGE 5: About the Cover ArtPAGE 6: The Woodside ChoirPAGE 8: Masquerade a sweet piece of musicPAGE 9: Masquerade Flash MobPAGE 10: Folk Festival Calendar of EventsPAGE 13: Caribbean Heritage Summer CampPAGE14: Symposium in GuyanaPAGE 16: Music Education in GuyanaPAGE 18: Why Guyanese love oldiesPAGE 20: Kweh Kweh RitualsPAGE 23: Hindu IconographyPAGE 24: Songs & Dances of 40s & 50sPAGE 26: Arawak Musical SoundsPAGE 28- Chutney in meh veinsPAGE 30- Edith PietersPAGE 33- Rafiq Khan

Vibert CambridgeGuest Editor

Cover DesignVictor Davson

Copy Editors- Edgar Henry & Lear Matthews

Layout and Design by Claire A. Goring & Ashton Franklin

Contributors:Vibert Cambridge, Peter Halder

Gillian Richards-GreavesMaureen Marks-Mendonça,

Juliet Emanuel, Edgar Henry,Sara Bharrat, Carl HazlewoodRohan Sagar, Alexis Stephens

Derry Etkins, M. Angela MassiahRev. F. Clarke, Serena Hewitt

Hugh Hamilton

PhotographsArlington Weithers,

Vibert Cambridge

GCA Media TeamAve Brewster-Haynes (Chairperson), Juliet Emanuel, Edgar Henry,Lear Matthews, Claire A. Goring,Muriel Glasgow, Ashton Franklin,

Margaret Lawrence, Francis Quamina Farrier.

Please join our Facebook group, Website: www.guyfolkfest.org

GCA Secretariat1368 E.89 Street, Suite 2Brooklyn, NY 11236Tel: 718 209 5207

SHINING THELIGHT ONGUYANESE MUSICAL CREATIVITYAND MUSIC INGUYANA

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60thAnniversary

WOODSIDECHOIROUTSTANDING CONTRIBUTIONSTO GUYANA’S MUSICAL LIFE

GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

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I want the world to recognize, with me,the open door of every consciousness.

- Frantz Fanon "By Way of Conclusion"

For many years, Victor Davson hasbeen seeking a way through com-plexity to the visual heart of cul-

ture. This has meant finding the truth ofpersonal experience which for him isan aesthetic truth as well as theunavoidable truth of history. This is adifficult, rather elusive location toinhabit in creative terms, as the ques-tion becomes how to communicatesuch formal truth without beingensnarled by didacticisms, visual andotherwise.

Part of the answer lies in Davson’s lifeas a young man in what was thenBritish Guyana. Growing up there inthe sixties was an intense experience: itwas a turbulent world bounded allaround by the political exigency ofcolonialism and an ongoing struggle toforge a unifying national identity. Butpractically from childhood the artistwas aware that the poetical rather thanpolitical route was a natural and pro-ductive means for him to find a person-al expression. He intuitively understoodthat art embodied nuanced forms bywhich, he could communicate whatev-er it was he had to say. Davson also rec-ognized that his engagement with artin all its cultural manifestations couldnot be simply theoretical; he had to beinvolved. In the unstable and politicizedGuyana of the time, it became a psy-chic struggle to find a generativesphere between blood and the tragicbeauty that lay all around him. TheGuyanese poet/politician Martin Carterwrote:

This I have learnt;to-day a speckto-morrow a herohero or monsteryou are consumed!

like a jig shakes the loom.Like a web is spun the patternall are involved!all are consumed!

To be a good writer, poet, musician, orpainter requires one to keep unob-structed that open door of conscious-ness of which Fanon wrote. For Davsonas a young artist, also required was aconstant intellectual engagement anddialogue with various world traditionsin order to confront his own inherentcultural multiplicity. This heterogeneityof the soul and racial body is an affec-tive condition one takes for granted aspart of the complex Caribbean experi-ence. Davson could not ignore that dis-sonant heartbeat he sensed alive andpulsing underneath the smooth mod-ern rhythm of everyday urban life.

It is at Christmas time that this meta-physical fusion and fracture makesitself most evident: masqueraders eruptinto the street and costumed dancersare everywhere, scaring and delightingkids of all ages. Long-legged stilt walk-ers shake and stomp and stretch farinto the sky as if reaching toward some

unknown god, and the sharp-horned‘bad-cow’ masks invade private yards todance and demand spare change. Bare-ly out of his teens and equipped withall the proper middle-class values, evenas Davson sought a way through art toparticipate in the important formalissues of contemporary modernity, theexciting beat of the drums, the strangethin tunes of the pipes and the unrulylandscape of the vast Guyana interiorwere beguiling. The paintings and draw-ings he produced at that point reflect-ed the lives of people and the quotidi-an reality of his environment. Bearingtitles such as, “Old Woman Wid deWeary Eyes” and “Domino Players,”these works demonstrated his need toattend to the local on the way to dis-covering something much more univer-sal in a formal and expressive sense.

(Excerpted from an essay.... NewWorks by Victor Davson)

ARTIST: VICTOR DAVSONBAD COWCOMIN'

THE COVER ART4

© Carl E. Hazlewood

FOLK FESTIVAL 2012: “MASQUERADE LIVES”

Guyana Cultural Association of New York Inc. on-line Magazine

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FOLK FESTIVAL 2012: “MASQUERADE LIVES”

Guyana Cultural Association of New York Inc. on-line Magazine

"Ecstacy & Agony(for David)" is from a series. This painting is dedicated to a friend recently deceased, whose passingepitomized the powerful ebb and flow of life and its unpredictability. It also references traditional masqueraders whose

lives were dramatic in their passion for the art and the poverty of their regular existence.

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6GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

Guyana Cultural Association of New York Inc. on-line Magazine

At the Annual Bishops High School Old GirlsGuild Tea Party held February 1952 in the homeeconomics room, Ms. Lynette Dolphin

announced that, with the assistance of Ms. EleanorKerry, she would stage a music festival. As head of TheHistory and Arts Council, Ms. Dolphin encouraged theBishops High School Old Girls’ Guild to form awomen’s choir to take part in the competition—thefirst of its kind in Guyana. The formation of theBishops’ High School Old Girls Guild Choir and theintroduction of the British Guiana Music Festivaloccurred at about the same time. The school at that time was a girls’ school. The testpiece was “The Lord is my Shepherd” by FrankSchubert. The conductor was Reginald McDavid, andthe accompanist was his daughter Joan Gilkes (néeMcDavid). The choir was adjudged first in its class, andthe winning streak continued for a number of years. The choir remained a women’s choir until 1956 whenmen were invited to become members and a mixedvoice choir was formed. Consequently, in 1960 thename was changed to Woodside, the original name ofthe Bishops’ High School. The choir is managed by a committee consisting of achairperson, vice-chairperson, conductor, deputy con-ductor, secretary, treasurer, assistant secretary/treasurer,librarian, accompanist and section leaders. The com-mittee meets once monthly. A music committeedecides on the music to be sung. Lynette Cunha currently serves as conductor, withAndrea Mentore as deputy conductor. Other conduc-tors over the years have been William Pilgrim, DeryckBernard, Aubrey Joseph, Dr. Moses Telford, RubyMcGregor, W. J. Simmons, J. D. Simmons, Shelia Bacchus-Lampart and Reginald McDavid. Others who haveassisted include Arnold Adonis and Dr. Olivia Ahyong

(née Benjamin).Marilyn Dewar is the cur-rent accompanist. JoanMcDavid-Gilkes; JuneBunyan-Stephens; PatriciaBowen-Sam; Ceceline Baird;Forizelle Francis; ClemNicholas, Jr.; Wendy Pollard;Daphne Scott; MargeuriteMarks-Clayton; VeronicaJoseph; Paulette Craig; Dr.Olivia Ahyoung; Dr. PatriciaCambridge (née Smith);Deborah Smith; andJoycelyn Hunte served asaccompanists over theyears.The group formed in 1966

from members of the Mixed Voice Choir. Mr. J. D.Simmons and his brother W. J. Simmons both gaveinspiration to the group. It expanded to include theentire Mixed Voice Choir and set high standards at themusic festivals. More recently, under the leadership of Deryck Bernard,a new group, “Korokwa,” was formed and continues toperform both locally and internationally.The current patron of the Woodside Choir is Mr. PhillipAllsopp.Woodside has performed locally and internationally.The performances range from Lenten cantatas,Christmas concerts, mid-year concerts and Carifesta tomusic festivals. The repertoire is varied—religious,classical, contemporary and folk music by national andinternational composers.In 1992 the choir was awarded the Medal of Servicefor its contribution to choral music in Guyana byPresident H. D. Hoyte. In 2005 the choir received theGuyana Folk Festival Award.

60th Anniversary Activities Planned for July-August 2012July 30th – August 3rd 2012: Music Enrichment Workshop,Bishops’ High School, Carmichael Street, Georgetown,sponsored by Ministry of Culture, Youth and Sport;Woodside Choirs Intl.; Guyana Musical Arts Festival,Inc.; and The Guyana Music Teachers’ Association.August 9th 2012: Grand Concert, National CulturalCentre, Homestretch Avenue, 8.00 p.m.

THE WOODSIDE CHOIR CELEBRATES60 YEARS OF EXCELLENCE IN MUSICTO THE GUYANESE COMMUNITY

FROM BISHOPS’HIGH SCHOOL OLDGIRLS GUILD CHOIR

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Guyana Cultural Association of New York Inc. on-line Magazine

GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

“Putagee”ONE OF THE FEW

REMAINING MASQUERADE FLAUTISTS IN GUYANA

2012 GUYANA FOLK FESTIVAL PAYS TRIBUTE TO A MASQUERADE LEGEND

Rudolph Vivieros

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Guyana Cultural Association of New York Inc. on-line Magazine

GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

STARTED HIS MASQUERADE CAREERAT THE AGE OF 7 YEARS

So says, Rudolph “Putagee”Vivieros one of the fewremaining masquerade flautists in Guyana. Hisskill is so rare that he sometimes has to accompany

a majority of masquerade bands participating innational competitions such as the state-sponsoredcompetitions during Mashramani or during theOriginal Bad Cow Masquerade Band Competition,sponsored by the Alphonso family in Charity on thePomeroon River during the December masqueradeseason.

Putagee is a member of the Golden Arrowhead andCaricom Queen Masquerade bands. ThesePouderoyen-based bands, associated with the Blackettfamily, have histories that are almost 100 years.

“Putagee” was born in Plaisance—about 53 years agoand started his masquerade career at the age of 7 withthe Plaisance-based Arrow band. In this band he startedout as a flat foot flouncer and quickly demonstratedskills as a boom drummer, a kittle drummer, and a tri-angle player.

“Putagee” recalls that in his early days masqueradebands were known as “Santapee” bands and one of thecharacteristics of these bands was the fights that tookplace when bands clashed. In some cases the clashescould become rather violent. It was one such clashthat provided “Putagee” with the opportunity to takeup the flute. Mr. Joshua Taylor a legendary flautist witha Kitty masquerade band got his arm damaged in aSantapee fight and was unable to play the flute anylonger. He took “Putagee” under his wing and taughthim scales, technique, and repertoire.

“Putagee’s” masquerade career has spanned the late-colonial era and the post-independence era and he isin a position to offer a comprehensive view on thestate of the art form. His story is populated with mas-querade legends such a Lionel Blackett, Joshua Taylor,Boysie Sage, Bundarie, and the experts who “danced cow.”

As a masquerader who has performed in all theaspects of the art form, his stories emphasize theimportance of masquerade’s musical repertoire.Masquerade’s repertoire is multi-dimensional. As“Putagee” points out…there is the music ofarrival…this sequence usually accompanied with a“toast” extends seasonal greetings and best wishes tothe “host.”

continued on page 20

“Masquerade is a sweetpiece of music...”

Vibert C. Cambridge & Margaret Lawrence

Rudolph Vivieros

“Putagee”

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Guyana Cultural Association of New York Inc. on-line Magazine

VIDEO TO TEACH YOU MASQUERADE STEPS FOR

FOLKFEST FAMILY DAY PRESENTATION

9FOLK FESTIVAL 2012: “MASQUERADE LIVES”

JOIN THE MASQUERADE FLASHMOB ON FOLKFEST FAMILY DAY

AUGUST 1 YouTube LAUNCH OF MASQUERADE TEACHING VIDEO

With our theme “Masqurade Lives” GCA is inviting Guyanese attending Folk Festival Family Day on Sunday, September 2 to join us as

we pay tribute to one of Guyana’s important art forms, the Masquerade.

WE ARE LOOKING FOR 1000 MASQUERADERS(even if you've never danced before!), to be part of the Masquerade presentation.

Check the Masquerade Demonstration video on YouTube. It shows you the Masquerade steps and an explanation of each step.

REGISTER FOR THE FOLK FESTIVAL MASQUERADE FLASHMOBFacebook: Guyana Cultural Association Website:www.guyfolkfest.org

REGISTER & RECEIVE A FREE T-SHIRT AT THE GATE!EXCITING PRIZES FOR BEST FLOUNCERS!

BREAST PLATEFeet are crossed Right over left tightly as they move

forward right left - right left for 8 counts, palms face outand cross in front of the torso.

DONKEY PARADEMasqueraders dance around in a circle challenging each other, then break out into solo piece.

MASQUERADE DANCE STEPS:

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Guyana Cultural Association of New York Inc. on-line Magazine

FOLK FESTIVAL 2012: “MASQUERADE LIVES”

THE GUYANA CULTURAL ASSOCIATION OF NEW YORK, INC.11th Anniversary Celebration

FOLK FESTIVAL 2012CALENDAR OF EVENTS

GCA LITERARY HANGSaturday, June 9, 20121.00 - 7.00 p.m.Dutch Reform ChurchFlatbush & Church Avenues, Brooklyn, New York

GCA SUMMER HERITAGE CAMPArts in the Community

July 9 - August 16, 2012Flatlands Reformed Church

3931 Kings Highway and E40 Street, Brooklyn, NY

GCA AWARDS CEREMONYWednesday, August 29, 2012Brooklyn Borough Hall

209 Joralemon St. Brooklyn, NY 11209

BY INVITATION ONLY

KWE KWE NITE!Friday, August 31, 2012St. Stephens Church Auditorium2806 Newkirk Avenue, Brooklyn, NY 11226

GCA SYMPOSIUMDecember 13-14, 2012Georgetown, Guyana Venue: The symposium will have access to any of the followingvenues: Umana Yana, National Library, Theater Guild, or theInternational Convention Center.SPECIAL GCA RATES FOR AIRFARE & HOTEL ACCOMMODATION AVAILABLE

ART EXHIBITIONART FROM GUYANA AND THE DIASPORA

Jan-Feb., 2013(DATE AND VENUE TO BE ANNOUNCED)

2012 FOLK FESTIVAL THEME:

MasqueradeLives!

NEW VENUE FOR FOLK FESTIVAL FAMILY DAY SUNDAY, SEPTEMBER 2, 2012

PROSPECT HEIGHTS SCHOOL CAMPUS883 CLASSON AVENUE (BETWEEN UNION & PRESIDENT)

BROOKLYN, NY 11225OPPOSITE THE BROOKLYN MUSEUM, BROOKLYN, NY 11225

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Guyana Cultural Association of New York Inc. on-line Magazine

Music is defined as a succession of tones, singly

or combined to form melody, harmony, time

and rhythm. As we celebrate the different

genres and formats of music, it is necessary that we

pause to reflect on its structure, shape, design composi-

tion, construction and appreciation while reflecting on

its contribution to our cultural heritage.

Last month the Guyana Cultural Association of New

York launched the sixth annual Literary Hang, spear-

headed by Dr. Juliet Emanuel. Readers and presenters

expressed the word in true musical rhythmical pattern

placing emphasis on meter, iambic pentameter, blank

verse, with other models of fiction and nonfictional pro-

ficiency. One did not have to understand the rudiments

of music to comprehend and appreciate the augmented

or diminished rhyme, rhythm, poetry and prose that

were so eloquently enunciated in musical style.

The GCA Heritage Summer Camp is in progress. Keith

Proctor and Hilton Hemmerding will add their unique

touch as they demonstrate and impart musical notation,

folk music and gospel to the junior participants. This

year the camp takes on a different

image. In keeping with the theme,

“Masquerade Lives,” Claire Goring

with her cultural masquerade

designs brings to fore the music art

form as portrayed with exquisite

costumes; while Verna Walcott

and Rose October place emphasis

by incorporating measured mas-

querade steps to musical artistic

dance forms, rooted in our cultur-

al heritage.

Moving forward towards the

Awards ceremony on Wednesday

August 29th at Brooklyn Borough

Hall, the stage is set for co-chair

Ronald Lammy, geared up

through a democratic process, to

issue awards in recognition of

recognizing persons who con-

tributed to musical expressions

particularly those that coincide

with our theme for this year.

This will be followed by our annual Kwe Kwe Nite cele-

bration, at the St. Stephen’s auditorium in Brooklyn. The

chant and the beat of the drums of Jeggae Hoppie and

Akoyah Rudder will reverberate and compel the bashful

attendees to join in the musical traditional procession.

No one can deny that the Family Fun Day excels into a

kaleidoscope of Guyanese cultural forms, particularly in

music and its interpretations. Be it the children’s tent,

the plaiting of the maypole, various dance troupes or

the grand stage performances by various popular and

emerging artists, the extravaganza will surely captivate

the anticipated 5000 plus attendees into in a musical

frenzy.

Yes, William Shakespeare was so right. If music be the

food of love play on…..

PLAY ON!IF MUSIC BE THE FOOD OF LOVE

GCA HERITAGE SUMMER CAMP TO TEACHMUSIC THEORY, FOLK AND GOSPEL MUSIC

FOLK FESTIVAL 2012: “MASQUERADE LIVES”

Edgar Henry

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12FOLK FESTIVAL 2012: “MASQUERADE LIVES”

Guyana Cultural Association of New York Inc. on-line Magazine

GUYANA CULTURAL ASSOCIATION OF NEW YORK, INC.

CARIBBEANHERITAGE

SUMMER CAMPFLATLANDS REFORMED CHURCH

3931 KINGS HIGHWAY, BROOKLYN, NY 11234

Arts in theCommunity

JULY 9 - AUG 16, 20129.00 A.M.- 3.00 P.M.AGES 5-11 YEARS$5. REGISTRATION$25. WEEKLYTEL: 718 209 5207

MUSIC: LITERACY, CARIBBEAN SONG AND THE ART OF THE FOLK SONG DANCE: TECHNIQUES ASSOCIATED WITH THE MULTIETHNICITY

OF THE CARIBBEAN

POETRY & PROSE: STORYTELLING, STUDENTS WILL INVESTIGATE THEIR OWN HERITAGE AND CULTURE

ART: AN INTRODUCTION TO MASK MAKING, SCULPTURE & DESIGN

A COLLABORATION WITH FLATLANDS REFORMED CHURCH, NY CITY COUNCIL MEMBERS MATHIEU EUGENE AND JUMAANEWILLIAMS, NEW YORK TUTORIAL SUPPORT GROUP, THE BISHOPS’ HIGH SCHOOL ALUMNI ASSOCIATION NY

TRI-STATE CHAPTER AND MATERIALS FOR THE ARTS, TO EMPOWER YOUNG PEOPLE THROUGH BETTER UNDERSTANDING OF THEIR HERITAGE

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Guyana Cultural Association of New York Inc. on-line Magazine

When you enter the grounds of FlatlandsReformed Church, 3931 Kings Highway,Brooklyn, NY you will notice a camp fire to

your left. Each day the campers collect sticks, measurethem and rebuild the site, replacing any missing parts,making the construction more and more intricate. OnMonday, Delorean Neverson walked around slowly, col-lected bits of branches that had fallen from the trees onthe grounds and by herself created first site. As morecampers joined her each day (adults were not allowedto come near) it was wonderful to observe their collab-oration and respect for the emerging artifact.

By Thursday they had succeeded in creating a piece ofart, a part of their Collective memory. It is not higherthan their waists. It is strong and late Thursday after-noon it had not been knocked over by kids or briskbreeze.

Preregistration was on June 26th. and registrationopened on Monday, July 9th. There was a fairly goodstream of campers entering the camp each day.However, registration will end on Monday, July 16th. Tobe considered for Camp 2012, families were inter-viewed and introduced to the purpose and goal of theentire Caribbean Heritage experience. The theme of thecamp is the same of that of the 2012 season:Masquerade Lives.The camp will end on

Thursday, August 16, with an exhibition of work and aperformance related to all modules.

The first module ended on Thursday, July 12th. To saythat it went well would be gilding the lily. At the startof the day's activities on Monday, Rev. Paul Glover con-ducted a tour of the almost 400 year old church andsurrounding grounds. Then the campers, with some oftheir parents and camp staff, returned to the activitybuilding where the camp is housed. After their firstsnack, the work of the module started. Led by Mr. EdgarHenry the campers embarked on a four day excursioninto music. Music theory, practice, folk music, songsand games, music art, introduction to masquerade andits music and the camp song all combined to create a

lively, informative week. On Thursday, after a specialtreat to celebrate good performance over all (there wasa test) the children happily left camp anticipating thenext module, dance.

The staff of the camp for the first week included EdgarHenry, as Master, and Maurice Braithwaite, YvonneMcCallum-Peters, Akoyah Rudder, Hilton Hemerding,Keith Proctor, Winston “Jeggae” Hoppie, Claire Goringand Claire Patterson-Monah.

Monah n related capacities. Assisting as interns wereKayla Connelly, Jada McCallum and Annique Walters.The staff, administration and congregation of FlatlandsReformed Church combined offered, and will continueto offer, more than ample support for the camp.Tangible assistance was received from New YorkTutorial Support Group in the form of scholarships anda donation, Bishops’ High School Alumni Association,NY Chapter and Caribbean American Social Workers inthe form of donations and Mr. Charles Liverpool in theform of a donation. GCA has received also the supportof city council members, Mathieu Eugene and JumaaneWilliams, Materials for the Arts and NYC Department ofChildren and Youth and the Guyana Tri-State Alliance.

Since each module is imbedded in all the others, dancewas involved during the first week. The dance master,Verna Walcott-White, was introduced on Thursday to anenthusiastic response by the campers. In the secondweek, music will be part of the dance lessons as will bearts and crafts, science and communications. Reading,writing and math was practiced via music in the firstweek and will be done in all the weeks to follow. Theremaining modules, each an intensive, in successiveweeks, are: Dance, Arts and Crafts, Science,Communications, Parts A and B. For a full descriptionof each module, please consult GCA.

You are invited to see the children of our community atplay and the work of play.

13

NY CITY COUNCIL MEMBERS MATHIEU EUGENE & JUMAANE WILLIAMS, FLATLANDS REFORMED CHURCH, NY TUTORIAL SUPPORTGROUP, THE BISHOPS’ HIGH SCHOOL ALUMNI ASSOCIATION NY CHAPTER, GUYANA TRI-STATE ALLIANCE, CARIBBEAN AMERICAN

SOCIAL WORKERS ASSOCIATION, JOIN GCA TO EMPOWER COMMUNITY YOUTH THROUGH BETTER UNDERSTANDINGOF THEIR CULTURAL HERITAGE Juliet Emanuel

GCA ARTS IN THE COMMUNITYA CARIBBEAN HERITAGE

SUMMER CAMP OPEN TO ALL

FOLK FESTIVAL 2012: “MASQUERADE LIVES”

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Guyana Cultural Association of New York Inc. on-line Magazine

Responding to its mission to preserve, promote, andpropagate Guyana’s cultural heritage, the GuyanaCultural Association of New York, Inc. will in

December 2012 partner with Guyana’s Department ofCulture to present the 2012 symposium duringMasquerade season.Over the past few years, GCA has been dismayed withreports that the art form has been increasingly describedas a nuisance. Further, there is also evidence of thedecline in the number of masquerade bands evident dur-ing the Christmas masquerade season and at importantnational moments. This condition could be partiallyexplained by the lack of information and appreciation ofthe history and creativity of this quintessential Guyaneseart form. Heartened by the success in delivering a mas-querade curriculum to Caribbean youth during GCA’sCaribbean Heritage Camp held last summer in New York;evidence of efforts in Guyana’s private and public sectorsto preserve and promote the art form; and the increasinginternational critical attention to Margaret Lawrence’s nar-rative film Tradition, the Guyana Cultural Association ofNew York has decided to partner with Guyana’sDepartment of Culture to stage its 2012 symposium onthe theme “Masquerade Lives” in Guyana during the tradi-tional December masquerade season. Based on current plans, it will be more than a sympo-sium—it would be more like an immersive experience.

What follows are current details:Symposium: December 13th and 14th, 2012:Georgetown, Guyana.

The Call for Participation has been circulated. The detailsare available on-line at www.guyfolkfest.org. Potential topicsinclude but are not limited to: • Origins of the art form

• Immigration, class, and transferal and transmission of masquerade• The poetics of the masquerade: literary expressions• Masquerade as graphic text (PAINTING)• Costuming: meaning and subtexts• The masquerade band and community pride• Masquerade as public spectacle• Masquerade and foreign policy• Masquerade and CARICOM festival arts• The Music(s) of Masquerade• Masquerade and the Bhoom• Masquerade and biography• Masquerade as a socio-historical unit in curricula in schools

The University of Guyana and the Unit of Allied Arts in theMinistry of Education have been requested to support theinitiative by engaging students during the Fall term. “Theresearch reports from the symposium will be publishedby the Department of Culture. The Ministry of Culturehas also indicated its intention to publish a collection ofessays on masquerade that should emerge from thenational schools system.” In addition to the researchreports and poster sessions, there will be workshops onmasquerade music, costume design, image making, andthe poetics of masquerade. It is anticipated that currentpractitioners of the art will be actively engaged in theseworkshops.Also associated with the 2012 Masquerade season will bea special season at the Theater Guild which will feature anew work based on the masquerade heritage. Anotherevent will be The Original Bad Cow MasqueradeCompetition.

FOLK FESTIVAL 2012: “MASQUERADE LIVES”

SYMPOSIUM 2012 IN GUYANAAN IMMERSIVE EXPERIENCE

•WORKSHOPS ON MASQUERADE MUSIC, COSTUME DESIGN, IMAGE MAKING, THE POETICS OF MASQUERADE

• BAD COW COMPETITION• THEATER GUILD SEASON “MASQUERADE HERITAGE”

GCA Symposium Committee

SPECIAL DISCOUNTED GCA RATE TO GUYANA ON DELTA AIR LINES ATTRACTIVE RATES FOR HOTEL ACCOMMODATION AT PRINCESS HOTEL

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BAR ONIANS &FRIENDSFUNDRAISING DANCESAT. AUG. 25. 2012WOODBINE BALLROOM2281 CHURCH AVENUE, BROOKLYN,ADMISSION: $25. Advance - More at the DooirMusic by D.J. HannahBuster One Man BandFor Info:: Charles Cush - 973 801 1946

RAY MOND EGORDONTHEATREDRAMATIC PRODUCTION “Bubbles and Beads”FRIDAY, AUGUST 10, 2012 -SATURDAY, AUGUST 11, 2012MAGILL HALL89-60 164 STREETJAMAICA, QUEENS(Between Jamaica and Hillside AVes.)

TICKETS: - $ 22.50SHOW & BUFFET DINNER ON SATURDAYONLY - $42.50FOR TICKETS:Lorraine - 917 514 4625Cleveland- 646 872 6074

WHAT’S HAPPENING IN THE COMMUNITY

COME OUT AND SUPPORT THESE EVENTS

TO HAVE YOUR EVENT PROMOTED IN FUTURE GCA NEWSLETTERS:

Contact Claire Goring - [email protected] Henry -- [email protected]

COMMUNITY CALENDAR OF EVENTS

STARTING AUGUST 5 AT 4.00 P.M.GCA MAKING WAVESON THE RADIOCheck out our live internet audiostream and listen for us everySunday on a radio near you!The Guyana Cultural Association is pleased toannounce the inauguration our new weeklyradio program, beginning Sunday, August 5, onOne Caribbean Radio (105.1HD2, and streaminglive at www.onecaribbeanradio.com). Theprogram will air every Sunday at 4:00PM(Eastern Time), and will showcase the diversefacets of our multicultural Guyanese heritage,including the many musical and artistic tradi-tions and innovations spanning the spectrum ofour creative canon.

In addition to a weekly bulletin of culturally significant developments through-out the Diaspora, listeners will also hear from featured musicians and performingartists, revisit rare and exclusive moments in our cultural history from theGuyana Folk Festival archives and interact live on the air with noteworthyliterary and artistic Guyanese talents, both nascent and renowned.

The inaugural program will be hosted by Hugh Hamilton, in conversation withthe eminent Guyanese scholar and President of the Guyana CulturalAssociation Dr. Vibert Cambridge. The executive producer is acclaimedGuyanese actress, playwright and cultural ambassador Claud Leandro, withadditional contributions from veteran radio producers and personalitiesMargaret Lawrence in Georgetown, Joslyn Small in New York and Ron Bobb-Semple in Tampa, Florida.

Bookmark our web site for regular updates and stay tuned for more of what’shappening culturally at home and abroad.

Name Our New Program … and Win!

We’ve got a seasoned host and an outstanding production team. We have a timeslot on the radio and a date certain to launch our new weekly broadcast. Butwe still don’t have a name for our new radio program. We’re inviting your sug-gestions.

Click here http://guyfolkfest.com/radio-program/ �to suggest a name for ourprogram. Please remember to include your name, email address and daytimetelephone number so we can contact you if yours is the winning entry. Thewinner will receive two complimentary Guyana Folk Festival 2012 Passports,which entitle the bearers to free admission to all Folk Festival events for theentire season (including Kwe Kwe Nite, Family Fun Day and the invitation-onlyGCA Awards ceremony.)

Suggested program names should be short, catchy and easy to remember; par-ticular consideration will be given to names that are also in some way evocativeof Guyana and/or the Guyanese experience.

Deadline for submissions is Tuesday, July 31, at 8:00PM (Eastern Time).

Hugh Hamilton

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One of the earliest references to music education inGuyana, which I have noted in my research, is anadvertisement by Mrs. Ayers in the Berbice Gazette

of March 16, 1846. In that advertisement she announcesclasses “for a limited number of pupils …in Piano Forte[and] Singing.” Private music education has been thearchitecture that supported music education in the yearssince.

Over the years, a number of extraordinary individuals, pri-marily women, have taken on the responsibility for thisaspect of musical life in Guyana. A recent conversation onthis topic on the “Guyana Music Lovers Group” onFaceBook generated a list of more than 50 names of iconicmusic teachers in 20th century Guyana.

Over the years, these private music educators establishedlinkages with the Royal Schools of Music and other musiceducation bodies in the United Kingdom to ensure com-parable quality standards in Guyana. These private musiceducators produced world-class pianists and violinistssuch as Philip Pilgrim, Billy Pilgrim, Lynette Dolphin,Francis Percival Loncke, Rosemary Ramdehol, Hugh Sam,and Ray Luck. The emphasis on piano has to be related tothe fact that the piano was the preferred instrument inmiddle class homes during most of the 20th century.

Over the years, Guyana has also produced world-class clar-inetists, trumpeters, saxophonists, and percussionists.These musicians, such as Rudolph Dunbar, Rannie “SweetLips” Harte, Bert Rogers, the Mootoo Brothers, ClementHampden King, Harry Whittaker, and Keith Waitheacquired their musical foundations in units such as theBritish Guiana Militia Band and its successor, the BritishGuiana Police Force Band; the Number 7 CompanyMilitary Band of New Amsterdam; and the Salvation Army.

The religious community has been and remains an impor-tant source of music education in Guyana. Church choirsand Kirtan groups in Hindu temples have made majorcontributions to vocal music. In addition, they have alsocontributed to the development of competencies in otherinstruments, including the organ, harmonium, guitar, drumset, dholak, and dhantal.

The music education community in Guyana has con-tributed to the development of the cultural confidenceevident in Guyanese composition. Across the 20th centu-ry—from Peter Mortimer de Weever, to Clem Nichols,Valerie Rodway, Hilton Hemerding, Brother Paschal Jordan,

and Sonny Ault—Guyanese havecomposed music in every musicalgenre—from symphony to shan-to. In addition to providing musiceducation for a “limited numberof pupils,” Guyana’s music educa-tors (both private and public)have collaborated through organi-zations such as the Guyana MusicTeachers’ Association, establishedin 1948, to expand music appreci-ation, especially of the Westerncanon. The Guyana MusicTeachers’ Association takes credit

for launching the British Guiana Festival of Music in 1952,which, after a hiatus,has returned as Guyana’s premierebiennial musical showcase. The role of the British GuianaMilitia Band and its successor, the Guyana Police ForceBand, as well as the Guyana Defence Force Bands in pro-moting musical appreciation through regular band con-certs and route marches must also be recognized.

Collaboration between the private and the public sectorswas also evident when Guyana supported symphonyorchestras, including the British Guiana PhilharmonicOrchestra and the Princesville Orchestra. In both of theseorchestras, the private sector (private music teachers) pro-duced the strings and the public sector (the BG Militiaand its successor) produced the brass and woodwind sec-tions.

Since the 1960s and the acceleration of Guyanese migra-tion, there has been a decline in the number of musicteachers in Guyana. Efforts by organizations such as theGuyana National Service to fill that gap have not been sus-tained. In 2011 there was only one violin teacher inGuyana. There were no more than five pan-makers andtuners in Guyana in 2011. And Guyana now depends on aGuyanese resident in Canada to make annual trips toGuyana to tune the pianos in the public places.

We must recognize and pay tribute to the small cadre ofmusic teachers who currently provide “music lessons” to alimited number of pupils for a fee, which averages about$1, 500 (Guyana) for a 30 – 45 minute lesson. But thismakes music education inaccessible to most children inGuyana.

It is in this context that a new music education partner-ship is emerging. Among the elements in this partnershipare private foundations, such as the Tina InsanallyFoundation, the Unit of Allied Arts in the Ministry ofEducation, and the newly established National School ofMusic.

Let us hope there will emerge a partnership includingGuyanese in the diaspora which will coalesce around thetask of developing a comprehensive and inclusive musicalcurriculum representative of the rich musical world inGuyana. This will give Guyanese the capacity to makegreat music and to demonstrate the healing power ofmusic.

MUSIC EDUCATION& GUYANA Vibert Cambridge

GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

PRIVATE MUSIC EDUCATION HAS BEEN THE ARCHITECTURETHAT SUPPORTED MUSIC EDUCATION IN GUYANA.

WITH GUYANESE MIGRATION, THERE HAS BEEN A DECLINE INTHE NUMBER OF MUSIC TEACHERS IN GUYANA

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NEWLY ESTABLISHED NATIONALSCHOOL OF MUSIC PART OF THE NEW MUSIC EDUCATIONPARTNERSHIP EMERGING IN GUYANA

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FaceBook (June 25, 2012 @ 7:59am)---Maureen Marks-Mendoncaposts the following on the GuyanaMusic Lovers Group page:

“Vibert, here's a question for you: whydo Guyanese love oldies so much? Ican understand people from the era,who're taking a stroll down memorylane, but why do the young Guyanese -thirteen to twenty-somethingers - haveoldies downloaded on their iPods?There aren't many places in the worldyou'll find this.”

This triggered fifty-six comments overa 30 hour period ….so; on June 27 @5:44 am Maureen offered the follow-ing synthesis:

Re: Guyanese love of oldies:

“After listening to all the argumentsbelow, I think we can conclude, eh Vib-ert, that there is no single reason forthis phenomenon. Everybody is right.All of the reasons I’m about to listcame into play:

1) Because of the trauma Guyana wasgoing through at the time, many peo-ple left in the 60s and 70s, and theirlast memories of their beloved home-land are tied up in the music of thetime, hence the diaspora’s extremeattachment to oldies. This nostalgiawrapped up in oldies music waspassed on to their children, and isbeing passed on to their children’schildren.

2) Guyana’s poverty and relative isola-tion from the late 70s onwards, left theradio stations with no alternative butto continue playing the only albumsreadily available – oldies. As a result,generations of youth in the decades tofollow were fed the same staple, andgrew up with a love of oldies, whichthey too have passed on to their off-spring.

3) The politico-economic mire thatGuyana found itself in, stunted thebudding indigenous music scene, andhindered any further development, sothere was no new local music to takethe place of the old.

4) Today, just about everything is avail-able to the youth, and there is nodoubt that they are up with the cur-rent music trends in soca, chutneysoca, dance hall, etc. But oldies havebecome so endemic to the society,because of the points listed above, thatthey remain a very viable musical alter-native for Guyanese of all ages.”

But the conversation has not stopped!Since Maureen’s synthesis there havebeen other postings on this topic.

What do you think? Please sendyour comments to Guyana MusicLovers Group c/o([email protected])

WHY GUYANESELOVE OLDIES

FACEBOOK GUYANA MUSICLOVERS GROUP PAGE

SAVE THE LAST DANCE FOR MEby The DriftersYou can dance every dancewith the guy Who gives you the eye, let him hold you tight You can smile every smile for the man Who held your hand 'neath the pale moonlightBut don't forget who's taking you home And in whose arms you're gonna be So darlin', save the last dancefor me, mmm

Baby, don't you know I love you so? Can't you feel it when we touch? I will never, never let you go I love you, oh, so much.

Oh, I know that the music's fine Like sparkling wine go and have your fun Laugh and sing but while we're apart Don't give your heart to anyone

But don't forget who's takingyou home And in whose armsyou're gonna be So darlin', save the last dance for me,

GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

A STROLL DOWN MEMORY LANE

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GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

Kweh-kweh, also referred to as kakalay and mayan,is a uniquely African Guyanese pre-wedding ritualsystem that originated amongst African slaves in

Guyana, and is celebrated on the eve of wedding cere-monies (Edwards 1982; Gibson 2003). There are six to tendistinct ritual segments, which include a processional, thehiding of the bride, and the negotiation of bride price.Through music, dance, storytelling, proverbial speech,and other ritual performances, kweh-kweh participantsactively comment, on the bride, the groom, and theirrespective nations (relatives, friends, and representatives).While kweh-kweh is a multifaceted ritual with diverseperformances, however, music (and dance) constitutesone of the most visible performances, within whichAfrican Guyanese ethnic identities are constructed, con-tested, and displayed. Music drives the kweh-kweh ritualand is the principal yardstick by which each ritual eventis judged a success or failure.

Kweh-kweh music encompasses communal singing (anddancing) and the playing of instruments, which is primar-ily a gendered activity. Kweh-kweh songs highlight thecontent and purpose of each ritual segment and signaltransitions from one ritual segment to the next. For exam-ple, while the groom’s nation walk to the bride’s homeduring the processional, they sing “Coming down with abunch of roses”; when they reach the bride’s home, they

push against the gate to try to enter the yard, whilesinging “Open de door let de man come in” [open thedoor, let the man come in] and “Nation ah whey yuh deh[where are you nation]; and when the bride’s andgroom’s nations meet to negotiate bride price they sing“Ah who go stan’ am,” [who will stand for or representher], “Me go buy am” [I will buy her]. As they provideinstruction to the bride and groom and comment on eachother’s nations through singing (and dancing), kweh-kweh performers also deliberately and inadvertentlyrecount African Guyanese histories, reference life experi-ences, affirm and contest cultural values, impart wisdomto younger generations, express fears and joys, and articu-late hopes and dreams.

Kweh-kweh singing is a communal activity that is general-ly executed in call-and-response form, using the chestvoice and a raspy timber. Through-composed songs andone- and two-line chants are also performed to a lesserdegree. The call is primarily given by a kweh-kweh leader,called a captain, raconteur, or tutor, and the response isprovided by the kweh-kweh community. While theresponse is generally repeated unchanged, the call isextensively improvised by the captain, whose lyrics areinformed by his knowledge of the bride and groom andtheir families as well as Guyana’s history and folk beliefs.Thus, the kweh-kweh captain is akin to the West Africangriot (a historian, storyteller, poet, and musician), sponta-neously improvising preexisting and newly composedkweh-kweh songs (Keyes 1996:223-48; Burns 1995)

Although kweh-kweh songs highlight ritual segments,they also facilitate jollification (Gibson 1998:163), whilereferencing overarching themes of the ritual. Since kweh-kweh primarily addresses issues pertaining to marriage,the content of the majority of kweh-kweh songs talkabout sex and romance.

continued on page 20

Music and Meaning in Kweh-Kweh Ritual Performance

Gillian Richards-Greaves

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However, kweh-kweh songs also address other importantmatters, such as the importance of the hard-working,wage-earning man and the virtuous, domesticated wife.Very often also, these songs reveal various aspects ofGuyanese history, culture, and social climate. Ultimately,the issues by kweh-kweh songs reveal embedded culturalvalues of the African Guyanese community and theGuyanese community at large. In the song below “Theresa Blackman seh” the bride’sfamily tantalizes the groom’s nation. This song draws onthe practice of teasing the groom who comes from a dif-ferent village by telling him that he is not man enough tomarry their daughter or sister, even if he is a “big” (influ-ential) man in his village. In this song, the criticism is notonly reserved for the groom but all of the men from hisvillage of Mahaica, who are said to have teh-teh (leprosy)on their penises. At first glance this song appears to bejust another tantalizing song, but further investigationreveals that this song references a period in Guyanese his-tory when there was an alleged outbreak of leprosy in theMahaica region. Today, several versions of “TheresaBlackman Seh” exits, but the historical event thatinformed the composition of this song is elusive to manywho sing it.

Example: Theresa Blackman seh, he nah want no Mahaica man (repeat) Beause dey got teh-teh/leaper, pon dem dick (3x)

Kweh-kweh music continues to undergo changes, muchto the chagrin of older African Guyanese who regardnewer compositions, instrumentation, and performancestyles as substandard and destructive to the kweh-kwehritual. However, it is important to note that every traditionundoes changes due to internal and external influences,and that these changes are often necessary for the sur-vival of that tradition (Drewal 1992:13). The younger gen-erations of kweh-kweh performers, who incorporatenewer compositions and instruments in kweh-kwehmusic are also perpetuating and sustaining the ritual,albeit in different manners. Thus, with regard to kweh-kweh music, tradition and change are dialectical processes.

GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

Music and Meaning in Kweh-Kweh RitualPerformance

Gillian Richards-Greavesfrom page19

Masqueraders are sensitive to the ethnicity andmusical tastes of their hosts—so, it would not bestrange for a masquerade-flavored version of “SohaniRaat” to be played for Indo-Guyanese hosts. Thereceiving of the “gifts” from the hosts allows flatfoot flouncers to excel in their various routines—from Donkey Parade, Scottish Highlander, culminat-ing with the Stumble…each routine requires a dif-ferent melody, rhythm, and tempo—here the boom,kittle, triangle, flute (and back-in-the-day mouthorgan/harmonica) have their specific roles. Theflute man’s thrilling would encourage the Mad Cowas it “displayed” and “railed.” As Putagee said,“Masquerade is a sweet piece of music.”

Putagee’s story of his life in masquerade providesinsightful observations of the positive and some-times negative consequences of state engagementwith the art form. In this sphere he singles out thework of the National School of Dance which has“captured” masquerade’s dance vocabulary and theefforts of the Pilgrim brothers (Frank and Billy) inhelping to give the art form the respect it deserves.

Putagee is concerned about the future, especiallythe survival of masquerade music. His efforts toteach the flute have not been as successful as hehoped. One hopes that masquerade technique willbe incorporated in the curricula of the recentlyestablished National School of Music.

In Rudolph “Putagee” Vivieros –Masquerade Lives!

“Masquerade is a sweet piece of music...”

Vibert C. Cambridge & Margaret Lawrence

from page 8

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2120 SING OF GUYANA’S CHILDREN

GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

The first time I ever sangthose words with real pas-sion and gusto was in 1966.

I was at St. Rose’s High School atthe time. I do remember singingthe song as a primary school stu-dent, but the lyrics did not res-onate with me then. We wereunder British Rule, and still cultur-ally schizophrenic – expected tobe more loyal to Britain, a countrywe had never seen, than to theland of our birth. Under those cir-cumstances, singing ‘Onward,upward, Mary had a goat,’ wasmuch more appealing.

In the months leading up to Inde-pendence, however, everythingchanged. Nationalism was at apeak. There was an explosion ofcultural activities: Glee Clubs,dance troupes, school orchestras,local bands abounded, all search-ing for an expression that wasuniquely Guyanese. Through ourfolk songs, and the music of theold greats – W. Hawley Bryant(Song of Guyana’s Children),Valerie Rodway (O BeautifulGuyana), M. A. Cossou (My NativeLand), to name a few – we cele-brated our coming of age with fer-vour, as it began to dawn on uswhat it really meant to be ‘born inthe land of Kaieteur’s shiningsplendour’.

St. Rose’s had been given the roleof the British in the IndependencePageant, and we had proudlydepicted their imperious role inour history, through dance. I sayproudly, because to have been onthat stage on the evening of May25, 1966, bidding farewell to theBritish and marking the beginningof a free Guyana before an audi-ence of thousands, was such a

great honour. Admittedly, some ofus did envy the schools that gotthe riveting African, Indian, andAmerindian dance sequences, butwhat a heady night that was!Nothing, we thought, could putout the flames of nationalism ignit-ed in our veins that year.

We, the youth of that era, had hadgreat plans for our country andourselves. When we sang Guyanathe Free, we did indeed mean to‘pledge every effort’, ‘cherish thisearth,’ and ‘Make here a paradise’,but that was not to be. The politicsof the day drove many of us away.We took with us that fervour, andpledged to make great, if not ourcountry, then at least ourselves –for the sake of our motherland.And coming from such a modestlypopulated country, Guyanese havedone great things. Today, we haveauthors, poets, musicians, athletes,educators, scientists, actors to rivalthe best in the world.

One day last year, I awoke to therealization that, although we didnot become the great nation weenvisioned in the 60s, we are agreat people, and that should becelebrated. So, on May 26, 2011, Igrabbed up my rarely played gui-tar, told my husband to get hiscamera, and I recorded The Songof Guyana’s Children, honouringthe daughters and sons of Guyana.The time had come to sing ofGuyana’s Children.

Maureen Marks-Mendonça, Authorof Legend of the Swan Children

(http://www.youtube.com/watch?v=Vp9CGTTKUS4)

Maureen Marks-Mendonça,

‘Born in the land of the mighty Roraima,Land of great rivers and far stretching sea;So like the mountain, the sea and the riverGreat, wide and deep in our lives would we be;

Chorus:Onward, upward, may we ever goDay by day in strength and beauty grow,Till at length we each of us may show,What Guyana’s sons and daughters can be.

Born in the land of Kaieteur’s shining splendourLand of the palm tree, the croton and fern,We would possess all the virtues and graces,We all the glory of goodness would learn.

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... the Hindu icon associated

with the arts; music in

particular.

GoddessGoddessSaraswatiSaraswati

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As a child, my “nani” (maternal grandmother) taughtme the words of my first Sanskrit chant. It was allabout rhythm, feeling the beat of life deep in your

heart and then letting it flow into the words which leftyour lips. Music, she said, is the ultimate expression oflove; it is softly, flowing poetry which shapes our worldand our perception of life. In my world, the world of theGuyanese Hindu, music became more than just a tradition.It became a way of life, a culture which feeds theGuyanese identity.

When the sun rises in Guyana on Sunday mornings, thesteady beat of drums can be heard across the country. Itmarks the beginning of worship in Hindu Temples. As the“pandit” (Hindu Priest) chants various verses while heconducts worship rituals, the beats of the drum becomemore frantic and voices are raised to match this rhythm.Men and women sit cross-legged on cotton sheets, singSanskrit and Hindi hymns and clap their hands in tune tothe beat of the drums and the steady clinging of the“dhantal” (a long metal pole which is knocked with ahorse-shoe shaped piece of metal to create a ringing sortof sound).

Before the pandit can conduct his normal worship rituals,reverence must first be offered to the God Ganesh. ThisHindu icon is revered as the remover of obstacles and is

worshipedby studentswho learn toplay variousIndian drumslike the“dulak”,“tabla” or“tassa”.PanditGopinauthPrashad is

among the younger Guyanese priests and a student ofmusic. Music, he said, cannot be separated from Hinduworship rituals.

“At an early age I started teaching myself to play thedrum…later on I attended classes at the Indian CulturalCentre,” Pandit Prashad said. “Music is and was an integralpart of my education as a pandit. This musical culture is sosignificant because of the rich oral tradition whichHinduism once depended upon for its preservation.”

Pandit Chandreca Persaud, a resident of West Demerara,explained that from an early age Hindus are taught torevere the Goddess Saraswati. The Goddess Saraswati isbelieved to be the giver of knowledge and is the Hinduicon that is associated with the arts; music in particular.This goddess sits astride a peacock and is perhaps mostidentifiable by the “veena” (sitar) which she carries.Students of music and dance or anyone who pursuesknowledge in any form worships the Goddess Saraswati.This goddess is popular among Hindu worshipers inGuyana.

Other Hindu icons who are also associated with musicalinstruments are the God Krishna who carries a flute andthe God Shiva who carries a “dolak damaru” (a small hand-held drum).Both Krishna and Shiva, according to PanditPersaud, are widely worshipped in Guyana. The music ofKrishna’s flute is thought of as a cleanser which purifiesour soul. However, Shiva is particularly noted for his formof “Nataraja” or the King of Dance. His dancing is recog-nized as a fluid representation life and is very significantto Hindus.

In Guyana, dance worship is practiced largely in the KaliTemples. Hindus associate the goddess Kali with powerand protection. This particular icon is worshipped by acombination of song and dance. As a drummer furiouslybeats a frantic rhythm, Kali devotees become lost in atrance during which they dance in reverence to the god-dess.

Regardless of which icon the Guyanese Hindu worships,music and dance play an integral part of this process.“Music,” Pandit Persaud opined, “is an integral part ofGuyanese Hinduism and the Guyanese culture as well. Thesame drums which send the Kali devotees into a tranceare the same drums which also create the favouriteChutney and Soca rhythms we enjoy. It is this same musicwhich also shapes our identity as Guyanese.”

GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

HINDU ICONOGRAPHY:A story of musical devotionin Guyanese Hinduism

Sara Bharrat

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When Julius Caesar said the Ides of Marchare come, Artemidorus the soothsayerreplied, yes Caesar but not gone. So the

twenty-first century has come but my memories ofsongs and dances of the 40‘s and early 50s of thetwentieth century have not gone.

During the early to the mid 40s, the only songs I wasfamiliar with were Hymns sung in Church on Sundaynights and Good Fridays from a red cover Hymn Book.No one on Non Pareil Street, Albouystown had a radiomuch less, a pick-up or a radiogram. We were fortu-nate however because after 1945, our home had aVictrola Gramophone and three 33size records. Two,both sides, could only be played during the ChristmasSeason because they were Carols : Oh Come All YeFaithful; Silent Night Holy Night; Once In RoyalDavid’s City and Hark The Herald Angels Sing. Theother contained Indian songs on both sides. One Iremember was Sohani Raat. The singer I think wasLata Mungeshkar.

The Gramophone was like a piece of furniture. It wasabout 4 feet high, wooden, varnished and had a cover.To play it, you had to raise the cover and there was alever to keep it open. In the middle was a roundturntable with a short silver pole in the centre toplace the record. It fitted perfectly in the hole of therecord. The first thing one had to do was to crank upthe gramophone. There was a handle at the side andyou cranked until it was tight. Then you took a steelneedle from a small tin, Bird Brand, and fitted it intothe bottom of the playing arm. To do that, you had tounloose a small screw at the side, place the bottomof the needle in a hole provided and then tighten thescrew leaving the pointed tip of needle exposed. Youthen placed the record on the turntable and turnedthe playing arm slightly to the right and to get the

turntable spinning. Then, with some skill and dexterity,you placed the point of the needle into the top grooveof the record and lo and behold, music erupted from it.

At the end of World War II, my father bought a thirdhand used Philco Radio. It could only pick up onestation, the local radio station which was then ZFY.Stations VP3BG and VP3MR merged in 1938 into ZFYoperating on North Road. Calypsoes were among thepopular songs of the time. One began with a fewGerman words and then continued “Hitler say tobring back the saltfish.” Another was The More TheyTry To Do Me Bad Is The Better I Live In Trinidad.Popular calypsonians at the time were LordKitchener, Lord Caresser, Lord Invader, Lord Beginner,Mighty Destroyer, Mighty Growler and Attila theHun. Other songs that were aired were mainlyCountry and Western which we called cowboysongs. Some were sung by Gene Autry while playinghis guitar. I listened to radio from 7.00 p.m. to hearthe BBC news and then from 7.15 -7.30 to whatevermusic was played. Sometimes it was cowboy songsand music, sometimes the tenor Richard Tauber orGilli and sometimes waltzes by Victor Sylvester’sBand. After, it was back to homework and reading.The radio station played only very prim and propermusic in those colonial days.

The Latin American beat came on the scene circa1949. We called it Spanish Music. The first popularsong was Mambo Jambo and another was MamboNumber 5 featuring Xavier Cugat. The populardances for them was King Sailor and Sandwich. Welearned them very well. At a Party one Saturday night,there was one guy who could only King Sailor to hisright but could not do it back to his left. So he wouldstop, walk back to his left with his dancing partnerand then start to the right again.

continued on page 25

SONGS ANDDANCES OFTHE 40sAND 50s

Peter Halder

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24 25GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

SONGS ANDDANCES OF THE40s AND 50s

Peter Halder

Our next adventure in dancing was to the calypso. Thepopular calypso at the time was Ah Bernice by LordKitchener. We learned to move to the beat with theyoung lady and then “loose off” and individually gyratedesperately but rhythmically, moving in a circle andwith hands in the air or flailing from time to time, some-times crafting signs and symbols. Flouncing to calypsowas copied from the Masquerade Band but made ele-gant to suit the occasion. The girls were more circum-spect in their movements.

The next adventure into the world of music was thewaltz. The problem was learning where and how tohold the young lady with your right hand to guide thedance steps and then how

to hold her left hand above the shoulder. There was one-step, two-step and three-step

waltzes and the foxtrot.

Slow dancing to cowboy songs like the Mom and DadWaltz and Always Late With Your Kisses was another artacquired and soon sentimental songs came into thearena. Among the latter, was Don’t Sit Under The AppleTree and Rum and Coca Cola by the Andrews Sisters.

Having learned the basic steps, doing the tango toCherry Pink and Apple Blossom White and Celito Lindofeaturing Perez Prado, was a piece of cake.

In the 1940s there were no juke boxes or string bands.Music was played at Dance Halls by Orchestras such asthe B.G. Musicians Band, Harry Banks Orchestra, the

Syncopators, Al Seales and the Washboards, Bert Rogersand the Aristocrats . All types of music and dances thatflowed in the early and late 50s thanks to a new wavecalled Rock 'n Roll. It became the rave of teenagers inGuyana with the showing of the movie Rock AroundThe Clock featuring Bill Haley and the Comets, thePlatters, Little Richard and others. The new wave andJamaica's Byron Lee brought new dances like Rocking &Rolling, the Locomotive, the Mash Potato, the Twist, theSka, the Reggae, the Strongman Dance, the Limbo andmany many more.

Other popular Caribbean bands were Guyana'sTradewinds and Barbados' The Merry Men. The MightySparrow and Lord Melody were on the top of theCalypso flow as were Guyana's Lord Coffee, KingFighter and Bill Rogers. Their hit songs

included Jean and Dinah, Mama Look A Boo Boo, If YohGoing Right, Suki, BG Bhaji. There were popular songsfrom nearby Suriname like Pau Pau Pau Yoh Goh MakeMe Lau and the dance that accompanied it. There wasalso Belafonte's Banana Boat Song and the PaddleDance. Popular hangouts in those days, apart fromBirthday Parties and $2 sub-parties, were Dance Hallslike RAF, Haley’s,

Over The Laundry, Washington Hall, Las Vegas and NightClubs in Georgetown, on the East Coast and places atMackenzie (Senior Supervisors Club and RecreationHall) and Christianburg (West Indian Hall). The gramo-phone gave way to record players (pick-ups), radi-

ograms (Blaupunkt, Grundig, Phillips) and orchestras gaveway to the jukebox...record player, amplifier and speakers.The Wurlitzer coin-slot automatic jukebox at Brown Bettyand Rendezvous on Robb Street became popular. For a twen-ty-five cent coin you had a choice of 3 songs . Much later,there were local bands like the Rhythmaires, Telstars, BingSerrao and the Ramblers and Combo Seven.

Songs and dancing were not only art forms in the good olddays. They were also avenues for meeting the opposite gen-der which often led to friendships, relationships and evenmarriage.

I don’t care if the whole a BG burn downBut they will be putting me out me wayIf they tackle Tiger BayAn bun dung de hotel where all me wahbine does stay

The Mighty Sparrow

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In 1817 the Arawaks of Venezuela departedtheir homeland after being hunted fortheir support of the Roman CatholicChurch in the Bolivarian War of Indepen-dence. The following is a brief dissertationon their musical heritages and impact ontheir emerging social plane in Guyana.

The music of the Arawaks of Santa Rosais a hybridization of the Joroporhythm and Arawak or Mari-Mari

melody. There seems to be a plausible expla-nation to this phenomenon - the Joropo wasaccepted by the Creole (native European-Venezuelan) masses as its legitimate music,and forming a hybrid structure with theArawak melodies in Angostura Banchikillicame to represent an urbanized musicalform influenced by European progressionsand three-fourths rhythms; the music ofKabakaburi conversely did not abandon, butrather retained its two-fourths rhythm char-acteristic of other tribal music away fromcity centers. Synonymously, both theBanchikilli and the Mari-Mari remained wed-ded to comparable characteristics such asmonophonic melodic forms, additive meters,and melancholic colors.

The strongest argument for Indigenousmusic lie in their contextualization and thesubstantive elements that reinforces theirmusic, for example, Baboon Dance, SnakeDance, Huri Dance and the Butterfly Dancehave all been relegated as subsidiary ideas tothe more pervasive non- Indigenous musicalforms. It is therefore more than a matter ofinterest that such Western concepts as folk

when deductive-ly analyzed, sug-gest that theseconstructs, forexample folkand animalismare the essentialelements of theirmusical andsocial platformswhich pivotstheir musics andsocial behaviors.Another impor-tant and relevant

tool is dance which again reinforces theIndigenous performance even more so nowin the absence of their lyrics. But even priorto this loss, evidence that dance withinIndigenous performances and expressionsplayed more than a perfunctory role, can beimmediately discerned when, for example, inBaboon Dance the dancers actually mimicthe actions of the primates. Mimicry was notconfined only to jollification, as expressedabove. These were socially defining toolswhich perhaps explain the thousand years’harmony which the Indigenous Peopleenjoyed with their environment.

Many of the musical instruments that usedto perform these and other music are nolonger available, except perhaps for the four-holed flute amongst the Wai-Wai of the deepSouth Rupununi and the Sambura. The Sam-bura, a percussion or box-bass instrumentwhich among the Arawaks was borrowedfrom the Caribs of Trinidad & Tobago, hasbeen located in Santa Rosa and Mahdia only,but the original Sambura instrument was vis-ible during a performance of the MacuxisParishara Festival in 2010. This originalinstrument, cylindrical in shape is covered atboth ends by animal skin, either deer or therodent capybara specie or labba. Today,Western musical instruments dominate, withthe violin replacing the voice and supportedby other stringed instruments and in somecommunities even with electronic instru-ments.

GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

Guyana Cultural Association of New York Inc. on-line Magazine

EXAMINING THEARAWAK MUSICAL

SOUNDS OF KABAKABURIAND SANTA ROSA

Rohan Sagar

THE ANATOMY OF AN EXILED SOUND

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Emanuel Cornelius (L), Uncle Saki (C) and FrankHernandez entertain guests at a recent festival;

Uncle Manny Cornelius is playing a banjo that wasbuilt in his Moruca Region and with the guitar

and violin has come to symbolize traditional Amerindian music.

ARAWAK MUSICALSOUNDS OF KABAKABURIAND SANTA ROSA

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Ask anyone living in Guyana and Trinidad orparts of the Indian diaspora and they’ll tell youthat “chutney is de thing”. Some outside of the

English speaking Caribbean might be forgiven forthinking that the phrase is a direct reference to therange of South Asian condiments made with salt,spicy seasonings and fruits or vegetables. Whilethese condiments are enjoyed by many in the region,the phrase has little to do with food and everythingto do with an emerging genre of music which is justas spicy.

In the last decade, chutney music has gained increas-ing popularity with hits such as “Rum Till I die”(Adesh Samaroo), “Radica” (Kenneth Salic), “DhalBelly Indian” (Vedesh Sookoo), Rum is Meh Lova”(Ravi B-Karma), “Mor Tor” ( Rikki Jai) and “Rajin JeemJeem Joma” (Adesh Samaroo). These songs continueto receive significant airplay and have become a sta-ple at many major outdoor events.

Defining the musicIt’s hard to categorize chutney as belonging to onespecific genre. As an emerging music form it isarguably a genre of its own having developed from afusion of other genres such as soca and calypso.Many of the articles on chutney music describes it as“up tempo”, “rhythmic”, and “having musical connec-tions to India”. A more expansive definition comesfrom the Tourism Development Company of Trinidad(TIDCO):

“Chutney is an up-tempo, rhythmic song, accompaniedby the dholak, the harmonium and the dhantal.Originally, Chutney songs made reference to deitiesand were offensive to religious leaders. Withinrecent times, the Chutney has become extremelypopular and new compositions are being written.Some of these contain Calypso and Soca rhythms.There is also some extemporaneous compositionand accompaniment (especially in the growingnumber of competitions) may be provided bybands which include Indian, Western and Africaninstruments.”

Religion and ChutneyIn spite of its popularity, a major criticism of chutneymusic is that it promotes rum drinking. The music is

seen as having lost its religious subtext and hasstrayed too far from its roots. Almost as a response tothis criticism, chutney gospel has emerged to chal-lenge the lyrical content of many of the popularchutney songs.

Chutney gospel as the name implies utilizes the samemusical fusion but is more concerned with spreadinga religious message. Thus the songs are likely toinclude traditional gospel and religious music whichis set to a fusion of soca, calypso and Hindi rhythms.

Anil Azeez, the self-styled chutney gospel artist whohails from the Essequibo coast, popularised chutneygospel in Guyana with his hit single “In Jesus MehCan’t Die” (2003). He went on to produce severalother chutney gospel albums including “Come Sing aGospel Chutney” (2004), “Sing Praises in Chutney”(2005) and “Celebrate Christmas in Chutney” (2007).His counterpart Larry Pierre famous for his hit song“What Yuh Go Say Boy” has been dubbed the chut-ney gospel king of Trinidad and Tobago.

Although chutney gospel is still in a nascent stage,the popularity of both forms of the music is duemainly to the spicy, up tempo rhythms and the lyricalcontent which focuses on everyday events such asdrinking rum, broken relationships, love and thequest for spiritual enlightenment. All of these eventsare central to the Caribbean experience and likechutney it’s in our veins.

CHUTNEY IN MEH VEINS

Alexis Stephens. M.A

GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

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Plaisance, a well known village inGuyana, was purchased by freedslaves in 1842, following emanci-

pation. Its history, from cotton planta-tion, to the merging with, and subse-quent separation from neighboringSparendaam is well documented. Butthe artistic dimension of this bucoliccommunity including a musical tradi-tion sustained by its sons and daughtersmay be less well known.

In particular, the village was known forthe nurturing of talented performers,such as the world famous musicalambassador, Eddie Grant. The Profittfamily, proprietors of the heraldeddance hall, “Profitt’s Place,” included gift-ed musicians, who regularly entertainedat both civic and religious events.Descendants of this family have contin-ued to provide musical entertainment atexclusive venues throughout the world,including, Carnegie Hall, New York andLondon.

Other musical talents that emergedfrom this historic village include “VoltsCombo,” lead by Cleveland Bernard; theEvershaft band; the Gradu8’s, of whichyours truly was a member; and the Plais-daam Steel Orchestra. Some individualswho participated musically were CyrilProfitt, Edmund Wills, Joyce Etkins,Yvonne Headley, Victor Validum, RickyInce, Hector “Ballie” France and CharlesLiverpool.

Yes, the little village of Plaisance, sixmiles east of the capital, Georgetown,has produced academics, skilled trades-men, as well as renowned performanceartists. I have the Plaisance of being oneof her products.

THE MUSICAL TRADITIONSOF PLAISANCEMORE THAN RED ANTS

PLAISANCE NURTUREDTALENTED PERFORMERSSUCH AS EDDIE GRANT,

THE PROFITT FAMILY, THE GRADU8’S,

VICTOR VALIDUM AND OTHERS

Derry Etkins

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GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

Edith V.Pieters SINGER, MUSIC TEACHER, CHOIR DIRECTOR, CONDUCTOR, MENTOR.AN OUTSTANDING CONTRIBUTIONTO THE MUSICALLANDSCAPEIN GUYANA

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Edith Victorine Pieters was born at Blairmont Estate,West Bank Berbice, on December 23, 1920. Her firstpublic appearance as a singer was at age seven. Her

music teachers were Valerie Rodway, Eleanor Kerry,Sammy Nicholas and Ruby McGregor.

She formed the Lads and Lassies Club of New Amsterdamwhich gained the attention of the British Council winningher a six-month scholarship (1950-1951) to England.

Edith graduated from the Government Teachers’ Collegein 1945. In 1954 Edith received the Licentiate from theRoyal Schools of Music and the Licentiate from TrinityCollege in 1960. In 1962 she graduated from theUniversity of Reading with a Certificate in MusicEducation. She also held a Bachelor of Arts Degree fromthe Inter-American University, Puerto Rico.

Soon after Edith returned from England in 1951 she wasLibrarian at the New Amsterdam Public Library (1952-1957). She was Music Mistress at Bishops' High School(BHS) in 1958. She formed the school’s orchestra and asteel band and launched much acclaimed annual con-certs. Her orchestra comprised students from BHS,Queen’s College, Charlestown Secondary and St. Rose’sHigh School. In 1974 the Combined Schools Choir wasformed and complemented the instrumental ensembles.

In the 1960’s, Edith Pieters’ Music Club defeated theWoodside Choir at the Music Festival. Rules were thenamended to exclude children from participating in theopen choral categories. Edith introduced GCE A LevelMusic in the 1960’s, coordinated the music for MassGames, formed the Teachers’ Choir which performed atMass Games and National functions and introduced themusic program at the University of Guyana. In the 1964Theatre Guild production of Dido and Aeneas, Edithplayed the role of Queen Dido to much acclaim. Edithprepared the choir which performed the submissions forthe National Anthem of Guyana.

Soon after retirement in 1975 she was appointed MusicCoordinator in the Ministry of Education. She coordinatedthe Music Program for the Institute of Adult andContinuing Education (IACE) now the Institute ofDistance and Continuing Education (IDCE) producingmany active musicians today. As Music Coordinator shetravelled the country, taking music to the remotest com-munities. Edith Pieters was co-director of the Redeemer

Youth Singers which toured the USA in 1978 producingthirty-two concerts in thirty days. The Government ofGrenada invited her to work as a consultant and ChiefMusic Adjudicator at its National Arts Festival. Edith nego-tiated the Cooperation in Oversees Development(OCOD) training program for teachers. The Association ofCaribbean Music Educators (ACME) depended heavily onher to develop the CXC Music Syllabus.

Edith Pieters became a household name through radioprograms such as Mid-Morning Classics and Concert Hall.She was co-founder and president of the Business andProfessional Women's Club of Georgetown. She receivedawards including the Philip Pilgrim Memorial Harp(1952), the Wordsworth McAndrew Award (2003) and theNational Award of the Golden Arrow of Achievement (AA)(1988).

This is a mere glimpse into the world of Edith Pieters. Insummary, none can ignore her contribution to the musi-cal landscape in Guyana.

AN OUTSTANDING CONTRIBUTION TO THE MUSICAL LANDSCAPE IN GUYANA

EDITH V. PIETERSPaul W. Cort

Guyana Cultural Association of New York Inc. on-line Magazine

• MUSIC MISTRESS OF BISHOPS’ HIGH SCHOOL• FORMED THE BHS SCHOOL ORCHESTRA & STEELBAND

• INTRODUCED GCE A LEVEL MUSIC• COORDINATED MUSIC FOR MASS GAMES• FORMED THE TEACHERS’ CHOIR• INTRODUCED MUSIC PROGRAM AT THE UNIVERSITY OF GUYANA

• PREPARED THE CHOIR WHICH PERORMED THE SUBMISSIONS FOR THE NATIONAL ANTHEMS OF GUYANA

• HELPED DEVELOP THE CXC MUSIC SYLLABUS

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GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

Joseph Burgan-Trotman took a long time in choosinghis calypso name. This former cane cutter, porkknocker and pupil teacher wanted a name to suit

his mission—the use of music to stir the working classsensibility and engage them in the working-class struggleof the PPP. The name had to embody love--enchantment.

The Mighty Enchanter was born in Wakenaam, grewup in a primarily Indo-Guyanese community and devel-oped the cultural confidence of an insider. It was thiscultural confidence that would nourish his ground-breaking calypsos, his contributions to the develop-ment of Chutney through the Afro-Indi beat, and hisengagement in political music in Guyana. The MightyEnchanter has an impressive and influential body ofwork.

As a musician engaged in the working-class struggle hecommented on patterns of domination and oppressionwith the intention of calling attention to the problemand seeking rectification. In “Dulari Betty” he directsthe nation’s attention to the stultifying consequencesof the caste system and shows that a higher castewoman can find love and happiness with a Chamarboy—irrespective of family pressure. In “DishonestPandit” he tells the story of how a community punisheda Pandit for attempting to defraud the women in thatcommunity…as the calypso said…”de Pandit run, depandit run…with he dhoti in he hand”…as he tried toevade the sanction of the community.

Enchanter’s primary motivation was using music tobridge the ethnic tensions that have characterizedGuyanese life and his “Maughe wid me” is a composi-tion in which the myriad musical instruments inGuyana’s soundscape (dholak, dhantal, violin, mandolin,saxophone, jhall, maracas, kanuri, harmonium) cometogether to demonstrate the possibilities of musicalfusion—the Afro-Indi beat. “Maughe wid me” is one ofthe early Afro-Indi recordings in Guyana and is recog-nized as a precursor of contemporary Chutney.

As a political musician, Enchanter is a member of asmall and talented group. He is in the company of EusiKwayana (composer of the official songs of the PPP,

PNC, and WPA), Lord Canary and Calypso Stella.Enchanter noted that Lord Canary and Calypso Stellawere formidable opponents in the struggle for thehearts and minds of the Guyanese populace during thefirst decades of the post-colonial era.

Taken as whole, Enchanter’s work is a valuableresource in the study of contemporary Guyanese life.In addition to commenting on foreign policy (“I LoveYou” is about attending a Youth Festival in EastGermany), he also comments on fashion and life styles.“Mini Skirt” drew attention to the “distractions” causedby the new fashion. “Modern Girl Children” is aboutthe intergenerational tensions associated with “liberat-ed womanhood” that became evident in Guyanese soci-ety during the 1970s.

The Mighty Enchanter’s work is also about love anddedication. This is exemplified in his long-lasting mar-riage to Fareeda Azeez (The Lady Enchanter). Their col-lective repertoire is filled with testimonies of a lovethat has transcended racial barriers. In “FareedaDarling,” The Enchanters presents a duet that speaks tothe power of love, the blessings of loving one another,the commitment to love and protect each other--aptsentiments for contemporary Guyana.

The Mighty Enchanter…a career using music toenchant and liberate….

The MightyENCHANTER

USING MUSIC TO BRIDGE THEETHNIC TENSIONS THAT HAVECHARACTERIZED GUYANESE LIFE

Vibert C. Cambridge and Margaret Lawrence

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GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

Rafiq Khan MOLDED THE LIFE OF MOSTGREAT GUYANESE BROADCASTERS

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Rafiq Khan, former Chief Announcer/ProgramDirector and General Manager of Radio Demararaand BGBS/GBS, Guyana, 1948-1978, was indeed a

gentle giant. In 1994, fellow broadcaster Ron Robinsonaffirmed that Rafiq molded the life of every greatGuyanese broadcaster. The occasion was an event hostedby Guyanese broadcasters in North America to payhomage to Rafiq for his sterling service to Guyanese andCaribbean broadcasting. Whenever I speak with Rafiq,now retired perch atop a hill in Jamaica, I often remindhim of that declaration and with supreme modesty hedeflects that high compliment with a claim that he wassent good talent.

Now approaching 80, starting out as a renowned broad-caster, this media genius enjoyed a long and illustriouscareer as a broadcaster and international communicator.You would scarcely find disagreement among those whohad the privilege of hearing the voices he crafted, fromthe 1950’s through 1970’s that they were among the bestthe nation had ever heard! Everyone who worked at thestation wanted to get on radio but, Rafiq serving as a dili-gent filter gave us only the best. This included: HughCholomondely, Vic Insanally, Ron Robinson, CarltonJames, Rovin Deodat, Beverley-Ann Roberts and some whoare no longer with us like Pat Cameron, ChristopherDeane, Wordsworth MacAndrew, Roland Phillips, AyubeHamid, Olga Lopes-Seale and Matthew Allen. There wasnot a dissenting voice among those whose time coincidedwith his at the station. Rafiq is responsible for putting thatwealth of talent on radio. Many would flaunt the fact thatthey were chosen by him for that is a measure of howgood you were; yours truly included.

It is no surprise that among his many gifts, Rafiq knowshow to think on his feet in a crisis. He was programmedirector when civil strife broke out in 1962-63 betweenIndians and Africans. During the general strike, the

streets were unsafe for travel. Rafiq found that out whenhe was pulled from his car and beaten. Unable to get tothe studio, he got his engineer Frederick Benjamin to setup a remote station in his home and in his inimitablesoothing voice, attempted to calm a disquiet nation.

Rafiq was grappling with how to convey the reality onthe ground without further inflaming passions.Instinctively, he was manipulating the fourth estate with-out calling attention to which towns and villages wereablaze or the ethnic identity of the victims when a callcame from Nesbit Chhangur, Guyana’s singing cowboy,telling Rafiq he wanted to record a song for Guyana.Rafiq could not imagine what that could be in the midstof this turmoil. The result was a wistful commentary thatheld up a mirror to the country that reflected conductunbecoming in civil society. The lyrics were set to aCountry and Western tune, “Devil Woman” which hecalled “Guyana Lament.” This mournful refrain, pleadingfor a return to sanity and brotherhood, seared into theconsciousness of many and tugged at the heartstrings ofthe nation.

Rafiq played that song ad nauseam on the hour, every halfhour. It was received rapturously; everyone who heard itwas singing its repetitive chorus. The song appeared tohave achieved what law enforcement could not. Thisdoyen of broadcasting suspects that his actions may nothave stopped the violence immediately, but slowed itdown and possibly prevented it from escalating.

Rafiq Khan

MOLDED THE LIVES OF MOST GREAT GUYANESE BROADCASTERS, INCLUDINGHUGH CHOLMONDELEY, VIC INSANALLY,RON ROBINSON, CARLTON JAMES, PATCAMERON, MATTHEW ALLEN, BEVERLEY-ANN ROBERTS, WORDSWORTHMcANDREW, AYUBE HAMID, OLGALOPES-SEALES AND OTHERS

M. Angela Massiah

NESBIT CHANGURGuyana’s singing

cowboy

Lyrics for“Guiana Lament.”Tain public road the beginningWhen in the lorries they come Out of the darkness is peltedOut of blackness comes the bombNegroes and Indians screamingOnto the roadway they fallIs this the only way races will

join today?Join in barbarous death.

Gunraj and MunroeOh land in agonyWhen will our hatreds endand race with race worktogether as friends

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Guyana Cultural Association of New York Inc. on-line Magazine Guyana Cultural Association of New York Inc. on-line Magazine

Music is an element of creation and throughthe eons, Man has expressed myriads ofemotions through this medium. For some,

Music captures the soul of the musician and cata-pults the listener to spheres beyond the finite. Forothers, some music proves a balm to a troubled soulor triggers rage against systems and ideologues.

In several parts of the world, change agents haveused the powerful art form of music, to tame trou-bled souls and harness the energies of rebelliousyouth. For several years, various prisoners weretrained to play the steel band and over time, success-fully competed at National events and even woncompetitions under the title of the Republican SteelOrchestra. Through this forum, many offenders vent-ed their frustrations, pain and even their anger, in apositive manner. However, this activity was notstrategically linked with instruction aimed ataddressing other behavioral challenges they mayhave had.

Cognizant of the foregoing, I developed a signaturerehabilitation regime in 2001, called “Prisoners ofPurpose’ (P.O.P) to facilitate meaningful and effec-tive change in the lives of the participants and tocomplement efforts of reintegration. The theme forthis program is ‘Redeeming Time and RealigningPurpose’ and utilizes a peer educator component todevelop Offenders who demonstrate appropriateleadership potential.

In addition to a requirement that they participate inBiblically based Anger Management and Goal settingprograms, Offenders from these sessions wereassessed for suitability in a new music programwhich commenced in 2002. By 2009, over threehundred inmates at the Georgetown Prison partici-pated in the program. They were taught to play theKey board, Guitar and Drums and rapidly masteredthe various instruments. Some of them even availedthemselves to also learn to play the ‘steel band’.

What is of particular significance isthat statistics reveal that less thanfive percent of Offenders in thisparticular program ever getinvolved in negative prison cul-tures or reoffend on release. Onthe contrary, they become rolemodels in the prison environmentand successfully reintegrate onrelease. Several of them become

prolific composers of their own songs and music.The compositions attest to the vanity of pursuing alife of crime whilst stirring the hearers to do theright thing. The vitality expressed during theirrehearsals and performances, is undeniable and theyhave become a popular ‘item’ at major events held atthe prison and functions in the community.

Of particular note is that increasing numbers ofrequests are now received from Churches who seekto have the Prisoners of Purpose band, minister attheir churches. This development complements anexpanded awareness of the need for civic society toplay a more proactive role in the process ofRehabilitation and Reintegration. It is a joy to reportthat many testimonies come from Ex Offenders whoreturned to their homes with an enhanced self-esteem and a pride of having acquired a skill ofwhich their family and children can be proud. Thereare also some who returned to very remote parts ofthe country and are now the featured musician intheir community, for birthdays, weddings, generalparties and even for saying goodbye to the departed.

The capacity for successfully mentoring those whostrayed from, or perhaps never knew the right path,may very well be rooted in having Offendersredeem their time by exploring the passions of theirrealigned souls. The summation of this is bestdescribed by one of the participants who publicallyacknowledged that prior to getting involved in theprogram he had planned to connect with aColombian cartel he met while in prison.

(If you are interested in helping expand this program, please

write your interest to [email protected])

MUSIC FOR REDEMPTIONAND REINTEGRATION

GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

“PRISONERS OF PURPOSE”REHABILITATION REGIME FOR REINTEGRATION

Rev. F. Clarke, MS Prison Chaplain and Supt. Of Prisons

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POETS & POETRY

36

Come on boyLeh we play masqueradeYou and meWe gon paradeThis villageW’en de sun go downCome on boyLeh we play masquradeLeh we storm this placeLeh we have some fun

Come on BannaWe got a good reasonCome meh bruddaLeh we meckA lil freckFoh de season

We gon make newspaper maskAnd cover we faceNo matter who askDeh would never see we face

Borrow yuh mother dressPut on she Sunday bes’Stuff up de breast to make it boldPad up the seat to make it roll

Put she wig pon yuh headBefore this village go to bedWe gon light it up with funTinnin cup and sauspanGon be we drum

I gon sing and beatYou gon flounce down de streetYou gon hold de money cup

But ah watchin’ yuh boyDon’t push yuh luckDon’t mess wid de moneyIn dat Milo tinin cupIvan did try a thing last yearHe run’way wid de moneyAnd up to nowHe disappear

ButFrom whereever he hidin’One day he

bound to come outAnd ah gun put two cuff in heAh gon buss up

he mouth

Come on boyLeh we play masquerade

We got a good reason

Come on BannaLeh we meck

A lil freckFoh de season

We don’t have no mother SallyLike dem big men in the cityWid deh fancyMasqurade bandWe don’t have no long ladyDancing like crazyDress up in she fancy dan dan

We don’t have no mad bullIs just tinin cup and saucepanAnd de notes I gon pull

Miss Mary, Miss MaryOpen yuh doorMasquarade bandOut here fuh sure

Come out and seeHow we lil boys can danceMaking fancy movesAnd keeping we balanceThen throw a jill in we Milo cupOr throw it pon de groundWe gon dance and pick it up

Band, Flounce banna flounceWine banna wineWine down to de groundLike a ball ah twine

Hey, Watch out BannaDon’t go in Miss Bertha yardDat woman got a serious bad dog

Last year, it did bite CarlieFrom he seat to he heelIs only after she burn de dog hairAnd apply it to de bites

That he get lil easeFrom de pains she de feel

And don’t go near Mr. Williams houseEven though he watchinFrom behind he windowQuiet as a mouse

RememberWe call he by he false nameJumbie BaboonAnd whole yearHe planning to beat meWid he long pointa broom

Stay ‘way from Miss RodneyDeh she she is ol higueDon’t go near she doorShe might pull we inside

Only if we bathe in cow gallWe would escape sheOtherwise she wouldBecome a ball of fireRight before weAnd she gon suck out we bloodLike if she drinkin’ tea

Mr Johnson got a baccooIs banana and milk it does eatYou don’t want to mess with dat manHe would gat dat baccooChasing weAll over de street

Come on boyLeh we play masqueradeYou and me we gon paradeThis villageW’en de sun go downCome on boy, leh we play masquradeLeh we storm this placeAnd have some fun

Country BoyMasquerade

Kwesi Oginja

Page 37: Guyana Cultural Association of New York Inc. Newsletter

During the forties, my grandfather operated a stonequarry up the Demerara River. He also owned a tim-ber grant which my father managed. This was a won-

derful opportunity for traveling on punts and pontoons upand down the river, for sharing advice about good times tofish and hunt wild animals.

“ If you eat labba an’ drink creek water, you mus’ guh backdeh fuh live.”

This was a time to sit around the fire at night and listen towhat would happen if you heard the music of a fairmaid whocame up to comb her hair.

Men sang work songs, and stomped to suggestive folk songs intheir improvised dance hall on weekends and on payday. Outof these experiences, Mr. Braff, found himself living out the rit-uals of our folk. It seemed inevitable that he would go fromcuriously asking questions and making jottings, to collectingartifacts, an Amerindian flute and drum, a painted, jointed,wooden snake, a whistle, and a calabash shakshak.

Out of this rich experience, Mr. Braff explored our culturalheritage, and compiled stories, proverbs, and ethnic customsand beliefs that survived colonial institutions. He interviewedsome older folks in Bartica and in villages along the EastCoast. In the late forties, his return to Georgetown when hestarted working at the Argosy newspaper, allowed him to getinvolved in various ethnic events. He was invited to Cumfaceremonies, Hindu weddings, and Tadjah and Kali Mai Poojahceremonies. He observed paid mourners at funerals wailingloudly and stepping, while striking their staff into the ground.People were glad to share their ancestral memories.

Any music that involved drums got his attention. In addition tothe tones and shapes of drums, he also studied the rhythmicpatterns of drumming and foot stomping. Listening to his trea-sured LPs on Shango drumming, he looked for similaritiesbetween Caribbean and Guyanese observances.

In the sixties and seventies, all this pioneer ethnographicstudy was brought together in Musical Traditions, vols. 1,2,and 3; Folksongs of Guyana in words and music: queh-queh,chanties and plantation themes, and Guyana Folklore,Proverbs, and Stories, vols. 1 and 2. Among his unpublishedpieces were the poems, “Ole Hag,” “Seba”and “Demerara For-est.”

P.A. led the field as a music critic during the fifties and sixties,

as correspondent for theArgosy, then the DailyChronicle newspaper. Hepublicized musicalevents like the GuyanaMusic Festivals, PoliceBand concerts, churchconcerts, and especially,performances of theMaranatha and PoliceMale Voice Choirs. As thefounder-conductor of theDemerara Glee Club, heshowcased talentedsoloists in his columns,The Clef, Music andMusicians, and Forum.

Mr. Braff, was a true pio-neer whose work spurred other Guyanese to make their voic-es heard in both formal literary forums, and in grassroots eth-nomusicology.

He bin a river fuh wuk

An’ he fine he roots dem.

Guyana Cultural Association of New York Inc. on-line Magazine

37Reviewing the work ofP.A. BRATHWAITE

Pioneer Folklorist andMusic Critic

Serena Hewitt

GUYANESE MUSICAL CREATIVITY AND MUSIC IN GUYANA

Page 38: Guyana Cultural Association of New York Inc. Newsletter

38 Recent Dissertations and Theses:Gillian Richards—Greaves. “Nation, AhWhey Yuh Deh?”[“Where are you Nation?”]:

Kweh Kweh Ritual Performance and African Guyanese’s EthnicIdentities, Triculturalism, and Rediasporization.” (Ph.D. dissertation, Indiana University, 2011).

Rohan Sagar. “Ethnic Conversations inSonic Spaces - Musicking in Guyana.” (M.A.Thesis submitted to Future GenerationsGraduate School, 2012).

DVDs

Rohan Sagar. From Sambura to Cali-Mari:A Journey in the Life of the Mighty Chief(DVD)Rohan Sagar. Fiesta Del San Juan - The Storyof the Spanish Arawaks of MorucaGuyana.(DVD)

CDs:

Jakoostiks Volume 1. [Featuring SeresteSmall.] (Groit Music, 2011).The Waves of Liliendaal. [Mariatha Causway.](Mariatha Causway, 2012)

Selected Vintage and New Music byGuyanese posted on GuyaneseMusic Lovers Group(Facebook) April –July 2012:George Anthony (The Chiney)Whine Attack: http://www.entertainment-macco.com/2012/04/the-chiney-in-guyanas-music/Charmaine Blackman:

We coming down:http://www.youtube.com/watch?v=xNL-WFrgSPjYDavid CampbellCabacburi Children:http://www.youtube.com/watch?v=GN6_n1V2qVg&feature=relmfuDiana Chapman:Bring back Anansi:http://www.youtube.com/watch?v=DpHd-htj-DK8&feature=share

El CidLocal Dish:http://www.youtube.com/watch?v=nOeML8SeskIAubrey CummingsA Flower named June:http://www.youtube.com/watch?v=teFIs-GyXNLc&feature=shareTenecia DeFreitas:Brown Crush:http://www.youtube.com/watch?v=bXWYm7c77gI&feature=youtu.beAdrian DutchinI am a Guyanese:http://www.youtube.com/watch?v=qv0vGaAouZUMelanie Fiona:Killing Me Softly:http://www.youtube.com/watch?v=R-D04f2sZCI&feature=relatedDesiree Hazlewood FlemingSomeone I used to love: http://www.reverb-nation.com/play_now/song_1232357Shelly GOfficer:http://www.youtube.com/watch?v=ekp_okUmJZI&feature=shareIzzy and Tony Gordon (Children of DaveGordon of The Four Lords)Feel Like making Love:http://youtu.be/yXQY0blHBe0Terry Garaj:Dil Mora (Waistbreaker):http://www.youtube.com/watch?v=RwcSvY6gfNMDoreen Gravesande and The Wash-boards OrchestraTing a ling: http://www.gems-av.com/gemsav.htmlMark Holder:“Were there’s a will:http://www.facebook.com/#!/photo.php?v=1547801968541Eddie HooperPass it On: pass ithttp://www.youtube.com/watch?v=-VtwhGLzkpQ

BOOKS, FILMS & MUSIC REVIEW

Guyana Cultural Association of New York Inc. on-line Magazine

FOLK FESTIVAL 2012: “MASQUERADE LIVES”

Page 39: Guyana Cultural Association of New York Inc. Newsletter

39

Guyana Cultural Association of New York Inc. on-line Magazine

Each Food Vendor must obtain and produce their 2012 Health Certificate before the event)

GGUUYYAANNAA FFOOLLKK FFEESSTTIIVVAALL 22001122RENTAL OF BOOTH SPACE

NAME ................................................................................................ PAYMENT DEADLINE: AUGUST 25, 2012

ADDRESS .....................................................................................................................................................

............................................................................................TEL. # ..............................................................

EMAIL: ............................................................................... DATE: .................................................................

SSIIZZEE TTYYPPEE CCOOSSTT IINNDDIICCAATTEE CCOONNTTEENNTT OOFF BBOOOOTTHH

8’X10’ DRINK BOOTH $250.00 (NO ALCOHOL ALLOWED)

8X10’ FOOD BOOTH $250.00

8’X10’ ART & CRAFT $200.00 ((NNOO SSAALLEE OOFF PPIIRRAATTEEDD MMAATTEERRIIAALLSS AALLLLOOWWEEDD))

8’X10’ CORP. PROMOTION $850.00

TABLE PRINTED ITEMS $100.00

N.B. YOU ARE REQUIRED TO PROVIDE YOUR OWN TENTS, TABLES, & SEATING.Vendors must provide adequate GARBAGE CONTAINERS for your own use and for your customers.

You are required to TTIIDDYY TTHHEE IIMMMMEEDDIIAATTEE AARREEAA OOFF YYOOUURR BBOOOOTTHH and place your bags of garbage in the area designated, after the event.

EACH VENDOR WILL BE GIVEN A MAXIMUM OF 4 PASSES FOR ASSISTANTS. THIS NONE TRANSFERRABLE PASS MUST BE DISPLAYED ON YOUR PERSON.

Signed ............................................................

PLEASE MAKE CHECK OR MONEY ORDER PAYABLE TO: GGCCAA//FFOOLLKK FFEESSTTIIVVAALLMAIL TO: Guyana Cultural Association - C/o Claire Goring1368 East 89 Street, Suite 2, Brooklyn New York 11236

FOR INFO: TEL: 718 209 5207

RREECCEEIIVVEEDD:: DATE ....................... AMOUNT ........................... CHECK/ MO ............... CASH..................

FOLK FESTIVAL FAMILY DAY 2012