celebrating women’s history month guyana’s first...

Guyana Cultural Association of New York Inc on-line Magazine

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

Mar 302016Vol 6Issue 3

CELEBRATING WOMEN’S HISTORY MONTH

Sandra Granger Deolatchmee Ramotar Varshnie Singh-Jadeo Janet Jagan

Joyce Hoyte Viola Burnham Doreen Chung Lady Patricia Rose

GUYANA’S FIRSTLADIES SALUTED

IN THIS ISSUEPAGE 3: Holi HaiPAGE 4: Guyana First LadiesPAGE 5-8: Happy Phagwah

PAGE 10-12: Hail Ken CorsbiePAGE 14-15: Who are we

away from home?PAGE 16: Journey to the JubileePAGE 17: LumbayPAGE 18-23: Braodcastin in BGPAGE 24: Review of “Jonestown”

by Eusi Kwayana

March EditorJuliet EmanuelCover Design

Claire Goring & Ashton Franklin

Copy Editors-Edgar Henry, Lear Matthews

Gail A. Nunes

Layout and Design by Claire A. Goring & Ashton Franklin

Contributors:Lear MatthewsDave Martins

Guyanese Girls RockParmanand Sukhu J.P

Edgar HenryHubert Williams

Dr. Glenville Ashby

Photography:50th Independence

Anniversary CelebrationCommittee (New York) Amanda Richards

Guyana Broadcasters North AmericaKester Clarke

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

Ashton Franklin,Margaret Lawrence

Gail A. Nunes, Francis Quamina Farrier.

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

GCA Secretariat -1368 E.89 Street,Brooklyn, NY 11236Tel: 800-774-5762

2

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

LETTER FROM THE EDITOR

As we welcome Spring in this part of the hemisphere, we join our com-patriots in Guyana, home, and wherever they are living in greeting ourtraditional holy days of Holi and Easter. Joy and blessings abound.

In this month’s newsmagazine, we feature Guyana’s First Ladies. GCA hasbeen examining our path to the present and necessarily looking back not somuch with nostalgia but with the intent to make sense of journey that hastaken us to this place in time. Consider the women on the front cover and thehistory they represent for a nation pushing for realization of its self.

Further in this issue you will read about another path, estuarine in a sense butone that reflects the hopes and aspiration of a people and a medium thatstrove and is still striving to concretize its existence. That radio should remainfluid and “re-inventive” leans to the premise that renewal is a good thing;change is an inherent in growth and self-assessment brave.

One excellent example of art personified and in constant striving is the fea-tured performer, Ken Corsbie. Also in this issue is the gyro in music that isintrinsically Guyanese, Lumbay, surely an evolving, changing form thatencourages an awareness of the Guyanese Spirit, a spirit that Corsbie is stillkneading.

Lear Matthews places the diasporic experience into a context that actualizesthe transference of the Guyanese ethos, pushing for the same sort of acknowl-edgment of change and centeredness the First ladies, radio, Corsbie andLumbay express.

Long live Mashramani, IN NEW YORK.

Enjoy the issue!

Juliet EmanuelMarch Editor


OUR PEOPLE, OUR CULTURE, OUR HISTORY: CELEBRATING GUYANA'S GOLDEN JUBILEE

The trees smile with their sproutof tender leaves and blooming flowers, Eternal nature with its transient expression. Hails spring with ecstasy and joy! Bewildering shades with so many tinge. The land of beauty and greatness, India, witnessing color of happiness and peace. Nation come alive to enjoy the spiritA celebration of color- Holi! An experience of content, harmony and delight.

Holika burns amidst merriment and mirth. Evil overpowered by love and devotion. A festival to commemorate 'Ras Lila'-an enduring love saga of Radha and Krishna.

Gulal - red, green, yellow and countless. A day's canvas - a riot of colors. Lively crowd running hither and thither, Rainbow of colors, dashing from every nook and corner. Disregarding their woe and despair fervent folks, rejoicing at the marvel of colors.A day filled with luster and gaiety, A day to smear our dreams-With a splash of vibrant frenzy colors.

Holi Hai! A spring of unboundedfun and frolic!!

3


4CELEBRATING WOMEN’S HISTORY MONTH

GUYANA FIRSTLADIES

SANDRA GRANGER(current First Lady of Guyana)Sandra Granger is the wife of Guyana’scurrent President, HE David Granger.Prior to becoming first lady, she servedfor 18 years as senior programme man-ager at the Caricom Secretariat. She

was also a lecturer at the University of Guyana. Shestudied English Literature and Portuguese at theUniversity of Guyana and Brazilian Literature at theUniversity of Pittsburg, Pennsylvania. First LadySandra Granger is an advocate for women’s and chil-dren’s rights in Guyana.

DEOLATCHMEE RAMOTAR:(2011-2015)Deolatchmee Ramotar is the wife of for-mer President Donald Ramotar. Shehas a background in Nursing andEducation and is an advocate forwomen’s and children’s issues. She

also spent a few years working in the Accounting indus-try prior to becoming the first Lady of Guyana.

VARSHNIE SINGH-JAGDEO (1999-2007)Varshnie Singh-Jadeo was the wife offormer President, Dr. Bharrat Jagdeo.While in this role, she served asChairperson of the NationalCommission on the Rights of the Child.The couple separated in 2007, and

President Jagdeo continued his term until 2011.

JANET JAGAN (1992-1997)Janet Jagan was the wife of the latePresident Cheddi Jagan. Born in theChicago, IL in 1920, she became the firstfemale President of Guyana when herhusband died during his presidency.She served from December 19, 1997, to

August 11, 1999. Prior to this appointment she alsoserved as the first female Prime Minister of Guyanafrom March 17, 1997, to December 19, 1997. She wasawarded Guyana’s highest national award, the Order of

Excellence, in 1993, and the UNESCO MahatmaGandhi Gold Medal for Women’s Rights in 1998.

JOYCE HOYTE (1985-1992)Joyce Hoyte was the wife of formerPresident of Guyana, the late HughDesmond Hoyte, who died in 2002.She was First lady of Guyana from 1985to 1992, and died in 2012. She was

described by many in both the political and socialspheres as ” a lady” who represented and petitioned forthe needs of all Guyanese both as first lady and afterwards.

VIOLA BURNHAM (1980-1985)The late Viola Burnham was the wife ofthe late Linden Forbes SampsonBurnham, the first Executive Presidentof Guyana who died in 1985. She wasthe first female to be appointed Vice-President and Deputy Prime Minister

in the late 1980’s. She was a Latin teacher until 1967and also served as the Ministers of Education, SocialDevelopment and Infrastructure in the Government ofGuyana, under both her husband and, later, PresidentHugh Desmond Hoyte. Mrs. Burnham died in 2003.

DOREEN CHUNG(1970-1980)Doreen Chung was the wife of formerPresident Arthur Chung, the firstPresident of the Republic of Guyana.She was First Lady of Guyana from1970 to 1980, and died in 2009.

PATRICIA ROSE (1966-1969)Lady Patricia Rose was the wife of thelate Sir David Rose who was the FirstGovernor General of Guyana. A med-ical doctor, Lady Rose was known forher pioneering work at the Mahaica

Hospital in the Hansen’s Disease in-house and out-reach programmes. She received the Golden Arrow ofAchievement in 1980 and the Cacique Crown ofHonour in 1987 for her outstanding work in the field ofmedicine in Guyana, and has also published manypapers on leprosy, and was a referee of medical manu-scripts for the medical journal Leprosy Review. LadyRose returned to her country of birth, England inFebruary, 1988 after working for some 18 years at theMahaica Hospital.

First Published in Guyanese Girls Rock


5CELEBRATING WOMEN’S HISTORY MONTH

On March 13, 2016, Mary Elizabeth Olga Frasiernee Swan celebrated her 100th birthday. Shewas born to farmer parents in the village of

Stewartville/Leonora, West Coast Demerara, in thethen British Guiana. Olga, as she was known in herchildhood days, was the youngest of four children, allgirls. Her formal education began at the StewartvilleCongregational Primary School under the British sys-tem where primary education was the hallmark of one’sfuture. Olga spent her childhood days chaperoned byher elder sisters while the breadwinners toiled to pro-vide for the family’s well-being.In her early years she was employed at the LeonoraSugar Estate and later ventured to the NorthwesternRegion with an older sister and worked as a culinaryartist at Matthews Ridge Reynolds ManganeseCompany. She later relocated to the City of Georgetownand was married to the late Adolphus Fraser. Shebrought into the world 7 children: Rupert (deceased),David Gloria, Ronald, Veronica, Brenda, and Elsa. Sheis blessed with numerous nieces and nephews who spanthe globe from Guyana to Canada, United Kingdom andother parts of Europe. Her family tree consists of 20 grand-children, 32 great-grand children, and 3 great, great grandchildren. Olgamigrated to North America in 1968 to answer the callfor vacancies in the homecare industry, where numer-ous Caribbean families at the time were lured foropportunities, better wages and living conditions, aswell as the illusionary “pot of gold” at the end of the

rainbow.In those days jobs were numerous and the costof living was excellent. Olga quickly adapted tothe American lifestyle, working as a healthcareaid and culinary artist. She acquired many life-long friends and maintained close relationshipsuntil the vast majority of them transitioned.She has had a unique entry into this worldworth sharing. There was an error in therecording of her birth date. Her British calli-graphic birth certificate was inadvertentlyrecorded as 3/13. Consequently, her Guyanesebirthday read 3/13/1916 and her Americanbirthday was recorded as 3/30/1916. She mar-vels at the error and enjoys celebrating bothbirthdays.

When asked for the secret formula to her longevity, shereflects on her strong religious upbringing, healthy eat-ing habits and strong family genes. Her exceptionalculinary skills were passed on to her offspring. Her spe-cial dishes were a treat to remember at family gather-ings. Today Olga resides in Brooklyn, New York and iscared for by her daughters who make great sacrificesjuggling family life, scheduling between work and per-sonal commitments to ensure and preserve her well-being.Join us in extending blessings to this matriarch. MaryElizabeth Olga deserves a standing ovation, an honorand a salute. She has been a blessing to all of us andtoday we celebrate her life. Congratulation! Have a con-tinued healthy, longer life.

Happy 100thBirthday!

Mary Elizabeth Olga Fraser:Matriarch Exemplar

Ronald Pickering


6


Phagwah GreetingsMay God gift you all the colors of life, colors of joy, colors of happiness, colors of friendship,

colors of love and all other colors you want to paint in your life.


7


8OUR PEOPLE, OUR CULTURE, OUR HISTORY:

The word Holi originates from Holikawho was the sister of the Demon KingHiranyakashyap. Hiranyakashyap had

received a boon from the gods according towhich he could not be killed during the dayor night. No animal or human could kill him.So could any weapons. He felt that he wasinvincible and so asked everyone in hiskingdom to worship him. But his own sonPrahlada who was a great devotee of LordVishnu refused to do so. Enraged by this acthe would go on to try various methods tomake his son stop worshipping Lord Vishnu.He went so far as to kill his son but Lord

Vishnu would save him every time.

Eventually he decided to ask his sisterHolika to help. Holika like Hirayakashyapalso had received a boon which made herinvincible to fire. Hiranyakashyap asked herto enter a fire with Prahlad. Holika did so.She entered the fire with Prahlad in her lap.But her boon only worked when she enteredthe fire alone. She was burnt to her death.But Prahlad who kept chanting LordVishnu's name remained unscathed.

It is due to this event that Holika is burntevery year during Holi. Later on, the firefrom the Holika bonfire is taken by people totheir homes. It is believed that this wouldhelp make their homes become pure anddisease free. The ashes from the bonfire isalso applied on the body which signifies thebeginning of the festival of colours.

BURNINGTHE HOLIKADURING HOLI


9THE SIGNIFICANCEOF PHAGWAHBy Parmanand Sukhu J.P. Kaieteur News

Phagwah is one of the most ancient, joyous and col-orful festivals of the Hindu calendar. This festivalwas brought down from Indian in 1838, by Indian

Indentured Immigrants.Holi is celebrated forty days from the planting of Holika(Castor Oil tree). The burning of Holika takes place onthe Eve of Phagwah (full moon night). A huge structure(pyre) is built and kindled at the appropriate time in asymbolic act. Phagwah commemorates the New Year forHindus.Phagwah started at a time when India was facing a seri-ous drought, affecting the various crops. However, therain eventually came pouring down to the satisfaction ofthe people (farmers) who came out in the fields; playingwith the water in joyous jubilation as they throw it oneach other. Soon after, they start reaping their bountifulharvest (crop).There are special forms of music and songs which areassociated with Phagwah; Chowtaal singing is the domi-nant style, which is heard from Basant Panchmi night

until eight days after Phagwah.Holi was celebrated before the Prahalad’s legend.However, the story of Prahalad added new dimensions.Prahalad’s defiance of the many impositions of his father,King Hiranyakasyapu is testimony and evidence of firmfaith in Truth and God. The burning of Holika(Prahalad’s Aunt) is reminiscent of his victory over evil.King Kasyapu contrived various diabolical means to killhis son Prahalad, who went against his will, but all hisefforts were in vein. King Hiranyakasyapu; has a blessing(boon) that he would not die in the day or night, norinside or outside of his house nor would he be killed byman or beast. So he felt that he was God and proclaimedthat all worship must be henceforth Given to him.Soon after, Lord Vishnu came in the awful form ofNarsingh (half man and half lion) at twilight (neither daynor night). Lord Vishnu brought to an end the tyranny,arrogance and atrocity of the evil King (Hiranyakasyapu)in the centre of the doorway (neither inside nor outsideof the house).Holi in all embracing has a historic meaning with astrong social content which caters for reunion, socialexchanges, greetings and visits, it also provides for spiri-tual communion and economic assessment so that theNew Year can experience the emergency of a world freefrom want, poverty, full of justice and goodwill.`When the winter is over and nature rejoices, it is timefor us to bring out the abeer, abrack, powder, perfume,beat the drums, sound the jhaal, sing and dancing for it isharvest time. The spring crop is reaped and everyone isin a happy mood, bubbling with enthusiasm and in joy-ous jubilation as they celebrate.The coloured water/powder symbolized the unique floralbeauty of spring and the vanishing of hatred feelings,jealousy and enmity, and bringing into the community afeeling of togetherness. This celebration sees all cast andclass as one. The red does not represent anyone’s blood.. Let us celebrate Holi in the true spirit of friendship, joy,merriment and love.‘Let noble thought and actions be your guide and the fra-grance of Bassant rejuvenate your life’“A HAPPY AND JOYOUS PHAGWAH TO ALL!


10

OUR PEOPLE, OUR CULTURE, OUR HISTORY:

Happy PhagwahPhagwah is a Hindu religious holiday observed in

March. Phagwah celebrates the triumph of goodover evil, where participants traditionally wear

white and indulge in the throwing upon each other of aharmless liquid called "abeer". Powder, perfume, andwater are also thrown on family, friends and neigh-bors on this day by Hindus and non-Hindus alike, con-forming what is one of the most amusing, multicultur-al, good-natured and joyful celebrations annually heldin Guyana.


11


12

HONORING OUR PAST: INSPIRING THE FUTURE

HAIL KEN CORSBIE Dave MartinsCredits Stabroek News


13

HONORING OUR PAST: INSPIRING THE FUTURE

Since living in Guyana again I have seen first-handthe need for us to hold up our own achievers, toshout about them, not only for the praise that is

due but, more pivotally, for the powerful informationabout our worth that is passed on to the new Guyanesewending their way, here and abroad. While that is clear-ly a national mission, we should all do our part in pro-moting the image and today I come in that vein to holdup the name of Ken Corsbie who was honoured twoweeks ago in Barbados as the 2016 recipient of the EarlWarner Trust Lifetime Achievement Award.The late Earl Warner was a skilled theatre director andthe Trust was set up by his wife, Karen, to commemo-rate his name, to assist up and coming dramatists, andto honor those who had given a lifetime of theatre ser-vice in the Caribbean. (Other Guyanese awardees havebeen Michael Gilkes [poet, playwright, video producer],and Clairmonte Taitt [actor, violinist, director].Although our younger Caribbean generations may notknow his name, Ken Corsbie has been a pivotal figure inregional theatre, operating in a number of genres off thestage and on it, for years. He came into my life, coinci-dentally almost 50 years ago, when with the formationof the Tradewinds band in Toronto I came to Guyanafor a performance and was in the audience at theTheatre Guild for a show called ALL AH WE featuringKen, Marc Matthews, Henry Muttoo, John Agard, andpanman Camo Williams. Starting out far away in myown quest to write songs on Caribbean themes, it struckme instantly that ALL AH WE was independently onthat same path. It is important to remember that inthose years dialect material was something for the bot-tom house or the rum shop. To see it in “the theatah”,full blown and no apologies, was a shot in the arm forme at a time when I was searching for my future.I was to learn later than Ken had started out on this, atthe time, perilous venture in the early 1970s after seeinga Theatre Guild performance by the Guyaneseactor/poet/playwright Slade Hopkinson, based inTrinidad, part of which featured Caribbean materialwhich drew the biggest reaction from the audience. Kenrecalls, “As corny as it sounds, in that theatre at thattime, I had an epiphany – that was the direction I musttry, I will make.” Just a few weeks later, Ken was on theGuild stage, “HE ONE” in a programme focused onCaribbean literature – poems; short stories; anecdotes.He remembers being buoyed by the instant audienceenthusiasm, and shortly thereafter the epiphany broad-ened when he teamed up with Marc Matthews, a giftedactor with an imposing presence, for the now almostlegendary DEM TWO. “Our opposite aesthetics, dynam-ics, personalities were the perfect match,” said Ken. “Iwas the technician (I had my 2 years at the Rose

Bruford College for Speech and Drama in England) andhe was the primal force. I would be downstage doing mything, Marc would be upstage, off the side, listening, butthe audience kept flicking their attentions to him – thatis star quality. Anything could happen, so they had tokeep an eye out.”

HailKen CorsbieDave MartinsCredits Stabroek News


14 HONORING OUR PAST: INSPIRING THE FUTURE

DEM-TWO was an instant hit, popping up all overGuyana and touring Barbados, St.Lucia, St.Vincent,Antigua, Bahamas, Belize, Jamaica, Trinidad andDominica. Expansion of the group came with the addi-tion of actor/designer Henry Muttoo in the mid-70s.“We were ripe for an upsizing and outreaching,” saidKen. “Henry instantly changed and expanded our reper-toire and more importantly, our dynamics. Much later itforcibly hit me that we were the Caribbean on that stage– we were Chinese, Scottish, African, Amerindian, EastIndian, Portuguese. And then, Johnny Agard joined us– oh goodness – we were complete. Wherever we per-formed, we surprised the audiences with ourCaribbeanness.” That’s what hit me the first time I sawALL AH WE. There was this instant connection; it wasme up there on the stage. It’s interesting to look back onthat unit 50 years later and see that Marc has won theGuyana prize for his poetry, Johnny has the Queen’sGold Medal for his poetry, Henry has an MBE and Hon.Doctorate from the Cayman Islands College, and Kenhas several awards from Guyana, Barbados, Trinidad,Cayman Islands, and Guyanese associations in the diaspora.Ken Corsbie has generated a long career in theatre andperforming. He moved to Barbados in 1979 to be coor-dinator of the Theatre Information Exchange (TIE)funded by the Inter American Foundation of the USA to

form channels of communication and cooperationbetween the theatre activists in the AnglophoneCaribbean, and although the project funding ended afterthree years, it had brought Caribbean dramatists closertogether.Along the way Ken was involved with a unique televi-sion documentary programme called Caribbean Eye,created written and produced by Banyan Studios inTrinidad run by Christopher Laird, Tony Hall and BrucePaddington, partly funded by UNESCO. Ken hosted theseries where various themes were chosen to illustratethe connections in Caribbean cultures. He won aNarrator’s Award for his work, and his natural stagepresence and relaxed delivery lent a professionalwarmth to the programmes some of which are stillavailable on You Tube. Over the years, he has also beenvery busy as a solo stage performer, replaying his HEONE personality, and since moving to the USA in 1996he has been all over the diaspora map doing his one-man shows.There are people in Caribbean history who make a sig-nificant contribution to their countries by, so to speak,stretching the fabric of their societies to offer new direc-tions or to bring alterations to old ones. They changethe landscape of the culture, and we are often unawareof the change at the time; it is only in retrospect that wesee it. They come in diverse forms but they are a specialbreed. Louise Bennett of Jamaica is one with her rivet-ing impact on dialect poetry. Guyana’s Henry Muttoowith his contribution in theatre and set design is anoth-er; Henry has delivered highly acclaimed influences onCaymanian culture with his innovative and dedicatedwork. Similarly, John Agard has put Caribbean lan-guage into the awareness of the British society where helives. And there are others too numerous to mentionhere. Every one of those innovators, while doing theirown work so trenchantly, are also opening windows forother artists to come through, and as I pointed out inmy song, “Where Are Your Heroes, Caribbea”, our soci-eties don’t always recognize their efforts. Ken Corsbie, asalient part of that ALL AH WE team, is one of thosechange merchants. It is rewarding to see a Caribbeaninstitution, the Earl Warner Trust, recognizing his handand his talent and his commitment. It is an honour longdue.

HailKen CorsbieDave MartinsCredits Stabroek News



15Edgar Henry

presents

Peter Halder’s

BOOK LAUNCHThe Resurrection

“A Chilling Tale Of The Supernatural”“A Chilling Tale Of The Supernatural”

A 50th Independence AnniversaryMasterpiece from the mind of

an accomplished Guyanese authorPETER HALDER

US$$1495

G$$3,000

FFRRIIDDAAYY�

MMAAYY�

2277�

22001166

@@MMOORRAAYYHHOOUUSSEE

239, Camp & Quamina Streets � Georgetown � Guyana � Tel: (592) 226 0724Email: [email protected] � Website: www.morayhousetrust.com

5:30P.M.

5:30P.M.



In Part I, we explored the relevanceof terms such as ethnicity and raceto reflect on “who are we?” and the

journey to where we are. The analysiswould be incomplete without interro-gating the question as it relates to theDiaspora (i.e. Guyanese immigrantcommunity), many of whom will par-ticipate in the Golden Jubilee commem-oration.Diaspora Identity: How is it shaped?The experience of immigrants can be both gratifyingand challenging, characterized by opportunities andrisks. Adaptation and identity are shaped by trans-cul-tural and psychological factors, including the extent of

social/emotional attachment to the country of origin.Bi-national labels (e.g. Caribbean American) reflect eth-nic grounding and national pride, and is a function ofsustained links to the homeland. Cultural practices/cus-toms among immigrants demonstrate expressions ofconnectedness and identification with the home coun-try. Guyanese-American may also be less symbolic than sig-nificantly representing the essence of a transnationalexistence, rooted in as much the country of origin as inthe adopted country. Most Guyanese in the Diaspora,regardless of ethnicity or self-identity are defined by thehost society’s subculture niches as ‘people of color’ or‘black’ (e.g. in North America). They are seen as part ofa ‘minority group’ because of physical appearance or‘otherness’ which sets the parameters of socially clus-tered categories.

PERSPECTIVE ON GUYANA’S GOLDEN JUBILEE: PART 11

Who are we awayfrom ‘home’?A VIEW OF DIASPORA IDENTITY

“And though I rove o’er hills and dale and braveold Neptune foam …I still will turn me home”16

Lear Matthews



Who we are perceived to be or the labels assigned to us,is informed by a history of global transmigration andgeo-politics. Ultimately, pre-migratory socializationcoupled with experience as transnationals is of conse-quence. Immigrants may be viewed as foreigners, dis-placed persons, expatriates, even “traitors” (for aban-doning country of origin). Does how we are perceivedby others matter? To what extent does the place we call‘home’ define what/who we are? How well does aGuyanese/Caribbean culture translate into aspects of‘American’ or ‘Canadian’ or ‘British’ culture? Are weever complicit in denying our true heritage? Such ques-tions may be at the core of a collective identity,although for some, personal/professional achievement,not heritage, is the essence one’s identity.We often forget that Guyanese immigrants comprisemore than the major ethnic groups, namely, Guyaneseof East Indian ancestry and those of African ancestry.There are also Guyanese-born Chinese, Portuguese andAmerindians in the Diaspora. They too have storiesabout the immigrant experience, which redefine whothey are and what they have become.In search of a collective consciousness:“Ahwhee Own”:As we seek to answer the question: “who are we?” in theDiaspora, remember ethnicity and class affect self-con-cept. In addition, racial politics in the home countryplanted the seeds of ethnic divide. The resulting cultur-al baggage and its political ramifications penetrate vir-tually every aspect of Guyanese life, which includesgroup relations at home and abroad. Consequently, thecapacity to assess needs, solve problems, and collective-ly commit to meaningful change has been compro-mised. Furthermore, relations between the Diaspora andhomeland are in a state of tension, particularly with

regard to the role, ambivalence and expectations of“comebackees”. Along with perceived “ethnic imbal-ance” at planned Diaspora events, these tensions needcareful unpacking and measured response. A collectiveconsciousness (“ahwhee own”) influenced less by poli-tics than openness to diverse ideas from stakeholders isessential.Diaspora Engagement: Helping to chart ourdestinyTo successfully chart our destiny we must have a vision.Commitment to national unity and the legacy we leaveour children should frame the definition of who we are.Such a commitment is symbolically expressed at cere-monial events when the pledge: “One People, OneNation, One Destiny” is recited to reaffirm national har-mony. The hope is that this is a genuine reflection ofwho we thrive to be, regardless ethnicity of color orcreed. The inclusiveness promoted by the new government ofGuyana should help us get past the reluctance to talkhonestly about racial/ethnic issues. Let us reflect onour journey and strengthen relations with groups. Withhundreds returning for the jubilee celebration,Diaspora engagement could be pivotal in launching var-ious development initiatives. As we celebrate thisunprecedented milestone, we hope to emerge with abetter understanding of who we are, making the nationa place where people embrace ‘oneness’ regardless ofcountry of residence or political affiliation. The goal isto harness ideas, resources, skills and enthusiasmacross nation states. Guyanese need to loosen the bondsof mistrust between ethnic groups, homeland and theDiaspora. The national symposium series exemplifiestimely collaboration between the Diaspora and homeland.This will enhance inclusiveness in the new political cli-mate. Beyond the 50th: What we can become?The thoughts expressed above apply mostly to first-gen-eration immigrants and their children, who tend todefine themselves as Guyanese –American. For thethird-generation, ethnicity, and the country of theirgrandparent’s birth may no longer be a major part ofdefining “Who am I?” They tend to assimilate into themainstream society, accepting it as “home” and identi-fying with it. However, as we affirm our heritage andpolitical independence at 50 years, assessing the realitiesof a Diaspora identity is essential. Self-knowledge,involvement of the youth and partnership with the-homeland could help construct what we can become, aswe engage across cultures.

PERSPECTIVE ON GUYANA’S GOLDEN JUBILEE: PART 11

17

Who are we away from ‘home’”A VIEW OF DIASPORA IDENTITYLear Matthews



18

This water lily is named after Queen Victoria and is native to the Amazon and sur-rounding areas in South America. In 1836, the flower was first discovered by E.F.

Poeppig, a German explorer. He named the lily Euryale Amazonica. During the sameyear, another explorer, Richard Schomburgk described the same flower in British

Guiana. He named it Victoria Regia, after the Queen of England. The official name was accepted as Victoria Amazonica,

however it is still known to the locals as the Victoria Regia.

The are several different species of large water lilies named Victoria. The Amazonica isperhaps the largest. Its leaves can grow to more than 8 feet across, and are green oryellowish green in colour. The outer side of the rim is dark pink and can grow to

approximately 5 inches in length. The flower of the Amazonica blooms for about twobut can nevertheless measure up to 10 inches across when fully opened. This beautifulflower emits a powerful smell that is reminiscent of its tropical origins and is a combi-nation of bananas and ripe pineapple. The seeds are quite nutritious and are used as

food by the natives of the Amazon.

GUYANA’S NATIONAL FLOWER

Victoria Amazonica

JOURNEY TO THE JUBILEE


19Anew and innovative Guyana music style entitled

the “Guyana Lumbay Music,” came to life onSunday February 21 on the 2nd floor at the St.

Stephens church extension at 2806 Newkirk Avenue,Brooklyn New York.This event signaled the first of its kind in collaborationwith the Guyana Arts and Cultural Center (GACC), anoff-shoot of the Guyana Cultural Association (GCA) aswe celebrate 15 years of existence outside of Guyanathis year.This special afternoon concert came to being when theFanoko Singers, a New Jersey based musical groupgraced the presence of Brooklynites with a grand after-noon entertainment. The Fonoko Singers leader, a student of the art, CarlyleFraser educated the audience about the origin and pas-sage of Lumbay, which dates back to time immemorial,prior to slavery, during slavery when the drum wasused as a communication device, to our independence,demonstrating the position and existence of ritualssuch as Kwe Kwe; folk songs; the Afro-centric YorurbaSingers and how the different musical styles evolved.The group’s three recent compositions: “Come Leh AwiLumbay”; “Somebody Fart In The Minibus” and “DemClean Up Dee Place One Shot” exemplified and connected his Lumbay satirical style message from nostalgia to modern day activities in Guyana.

He also explained the research and communications ofhis personal experiences as a youngster and theLumbay legacy he intends to pass on which was exquis-itely confirmed when he turned the microphones andinstruments over to the youths with an age limit of 10.Needless to say their youthful, energetic presentationand expressions brought the house to a standing ova-tion.This marvelous, unprecedented recital attracted anaudience of family and friends from a wide cross sec-tion of the community who were at the edge of theirseats, clapping hands and tapping feet to the beat,sounds and rhythmical patterns of the performers.Mr. Fraser summarized the evening’s concert by statingthat Reggae had preambles of Rock Steady and Sca.Similarly, Lumbay had its passage and his hope is thatthe younger generation will fully embrace the gloriousmusical art form and technique of the Guyana LumbayMusic, steeped in our cultural heritage. Everyone in attendance received a recently minted sou-venir Fanoko Singers Lumbay CD with much delightand appreciation.

Come Leh Awi

“Lumbay”


20

CELEBRATE GUYANA'S GOLDEN JUBILEE: STRUGGLES. STRENGTHS: THOSE WHO STEPPED FORWARD

Early Broadcasters: Jack Cashmir, Rafique Khan, Ed Fung, Ayube Hamid, Olga Lopes-Seale, Lillian Fraser & Friend

It was like magic transformed in Georgetown (thethen rustic seaside colonial capital of overwhelm-ingly white-painted wooden buildings) that citizens

could be in their homes or walking on the streets andhearing their own people talking to them, telling famil-iar stories and presenting general information and themusic they adored.Broadcasting had at last come to this lone Britishcolony on the northeast coast of the South American

continent, presenting citizens with an open window tothe world and widespread relief from the trauma of therecently ended First World War (1914-1918) which tookan estimated 17 million lives (20 million wounded),including some of their own countrymen.Yes, “blackouts” had ended, the lighting restoredthroughout the city and along the Atlantic Coast afterwhat had seemed unending darkness; but nothing priorcould match the people’s excitement when four yearslater local technicians and Guianese voices presentedthe first attempts at local radio programming.Broadcasting, though limping badly, had finally “land-ed” and would in time cause a revolution in socialhabits in British Guiana, where most people’s wholeexistence was lived in their villages, hearing almostnothing of elsewhere and having very little contact withthe capital Georgetown.One negative consequence might well have beendiminution of traditional cultural practices in near andfar-flung coastal villages and rural and hinterland com-munities.

BROADCASTINGPROPELLED BGINTO THE 20THCENTURYHubert WilliamsBridgetown, Barbados, February 18, 2016


21


Retired Caribbean Development Bank Vice-President(Finance) and Bank Secretary Neville LyttletonGrainger, a Guyanese, makes the observation thatbroadcasting might have brought about significant cul-tural changes, for he asks: “ Did the advent of radioand other forms of electronic broadcasting serve todilute our cultural heritage? Was there value to us as asociety in children sitting in the moonlight listening tothe tales of yore from our grandparents? These experi-ences might have, to some extent, served to shape fam-ily values.”Guyana’s pioneers in broadcasting were a few enthusi-astic amateurs who in 1926 established a small wiredservice relaying shortwave broadcasts over the localtelephone system.I was fortunate to be part of a team at the GuianaGraphic Co. Ltd. in 1963 that produced the 1964Guyana Yearbook (some years prior to Independencein 1966, the spelling GUYANA was used in theYearbook’s title).It records that the initiative in 1926 was followed ayear later “by experimental low-power short-wavetransmissions which were carried out on a basis of twohours a week until 1931”.Serious economic difficulties aborted that initiative,until in 1935 “another group of enthusiasts decided tobroadcast commentaries on that year’s MCC cricket

matches… Encouraged by the success of the cricketbroadcasts, two separate stations, VP3BG and VP3MR,began operating commercially until 1938 when theyamalgamated on the formation of the British GuianaUnited Broadcasting Company Ltd.”In 1949 - four years after end of the Second World War(which took an estimated 60 million lives) and moreinterminable blackouts across coastal BG – “a medi-um-wave transmitter was brought into action in addi-tion to the short-wave transmitter.”The effect was a remarkable change in local broadcast-ing ! Until then, just a few homes, mostly of well-to-dofamilies, could produce at-home music through pianos,other instruments, and their RCA Victor gramophones,mechanically operated and using heavy vinyl records(His Master’s Voice): After each record was “played”,the spring had to be re-wound with a metal device thatlooked a smaller version of the old starter crank formotor vehicles.Such families around Georgetown and in a few ruralcoastal locations had shortwave radios and, nightly,crowds (mostly men) would assemble at vantage pointson the streets to listen to the 7:15 BBC News &Commentary, with the families facilitating this socialsharing by “turning up” the volume, though oftenreception would fade out.

Unesco Consultant Rafiq Khan commissions new equipment in VOG in thepresence of News Editor, Clem David, ChiefEngineer Ossie Goodman, GeneralManager Ave Brewster and MinisterDereck Bernard



22Sonny Mohamed, Ivor Tinniss, Ishri Singh, Bruiser Thomas, Raymond Azeez, George Nurse,Alma Rohlehr, Gwen Parris, Avril Legall, Alan Fenty

The well-to-do in rural communities did likewise, andoldsters from Hague Village on the West Coast ofDemerara could likely tell of similar occurrences wherelistening-in was facilitated by business persons like theBarcellos family (relatives of Dave Martins of“Tradewinds” fame) who were the village shopkeepers.On the nights of world title boxing matches, these vari-ous points of neighbourly accommodation would over-flow with listeners. Near bedlam erupted when the BlackAmerican heavyweight boxing champion Joe Louis(Joseph Louis Barrow) knocked out Germany’s MaxSchmeling (Maximillian Adolph Otto SeigfriedSchmeling) in the first round to avenge an earlier defeat.The Yearbook records that “In July 1950, OverseasRediffusion Limited purchased a controlling interest inthe broadcasting company and it was from this time thatbroadcasting in British Guiana was placed on a soundprofessional basis.“Changes in broadcasting policies and programmes weredenoted in a further change in the name of the station,

and from 1951, ZFY became Radio Demerara.”BBC transmission programmes were also very popularas citizens in this, at the time, very English colony, feast-ed on the musical treats of singers like Richard Tauber(later knighted) and Vera Lynn. In time, they were alsoto be enthralled by hearing the Guianese voice of JoeSanders coming through on the BBC’s daily programme“Calling the Caribbean”.Later developments led to the construction and commis-sioning of the first privately-owned modern broadcast-ing station at High Street, Georgetown, and later anoth-er broadcasting station was built at Hadfield Street,Lodge Village. Mr. Grainger underlines the positive impact of broad-casting on private sector development and general com-mercial activity: “Broadcasting as an enabler in the areaof commerce would also be another important changeagent of our early commercial landscape, with business-es being able to advertise their products and hence putthem more readily within the reach of consumers.


23And of its social impact, he recalls: “Some programmes,such as the nightly “Death announcements, have with-stood the test of time and have become part of thenational culture. For example, in times past, at its com-mencement time of 9:10 p.m. the musical introductionto this programme was regarded as a signal for youngmen visiting their girlfriends to say goodnight andleave.”The now distinguished scholar and international diplo-mat Sir Ronald Sanders was a main player from the late1960s in the development of broadcasting. He was thesecond general manager (succeeding HughCholmondeley) of the new post-independence stationGBS, having earlier returned from England where hehad attended university and trained at the BBC in radioand television broadcasting.He reminisces: “The advent of GBS in 1968 improvedbroadcasting in Guyana considerably. Rediffusion nolonger had a monopoly in Radio Demerara and the oldBGBS. The new GBS expanded the range of program-ming through documentaries on the social and econom-ic issues of the day, in-depth interviews with leadingpolitical and private sector decision-makers, and imme-diate and live coverage of major events through anOutside Broadcast Unit. Indeed, GBS’s coverage of firesthat destroyed buildings in Georgetown led to the popu-lar saying that "if yuh scratch a match, GBS is there". The GBS production team pushed the envelope of whatcould be covered by and discussed on radio. It was not aspace in which Radio Demerara sought to compete fortwo reasons: those programmes cost more to produce,and GBS had trained persons capable of delivering suchinformation, news and educational programmes in anentertaining way.Remarkably, GBS was able to sell its high-cost pro-grammes to advertisers who quickly realised that theyhad a wide audience. Further, through its outsidebroadcasts, GBS filled the void of visual images with theimages created by the voice. In this way, the story-telling tradition of Guyana was continued through GBSoutside broadcasts, none more impressive than cover-age of events at the inaugural Caribbean Festival of theCreative Arts (CARIFESTA) in 1972 when even dancebecame a visual image conveyed through the voice. The very popular programme "No Big Ting" created,scripted, and produced by Sanders and Keith Barnwell,with appearances by Ken Corsbie, Marc Matthews andJoseph “Reds” Perreira, was the first and only locally-produced satirical programme that poked fun at politi-cians and events in Guyana. It was revolutionary -hated by politicians and loved by the public. Barnwelland Sanders started it in 1969 and it was a Christmas-time staple after that.

Ron Robinson from Radio Demerara subsequently tookthe name and the format of the programme into stageproduction at the Theatre Guild's “Playhouse”.The broadcast segment of the information/communica-tions sector has expanded considerably over thedecades. With onset of economic stringencies, dilutionof the government’s socialist policies, and relaxation ofstate control of the media, there has been the establish-ment of numerous privately-owned radio and televisionstations - of varying capabilities and differing levels ofprofessionalism.In my view, the 20th Century heights attained by broad-casting in Guyana were less due to technologicaladvances and overwhelmingly so to the outstandingquality of the personnel it attracted. In time, many tooktheir skills to the Caribbean, North America and Europe– heading major regional organizations and becomingglobal functionaries within the United NationsEducational, Social and Cultural Organization(UNESCO).I was privileged to know most of them… who set the barso high it is a constant struggle for today’s generation ofbroadcasters to seek to emulate… of course, differentfolks, different times.Many of those who strove against the odds to developwhat has become an important sector in Guyana’s econ-omy were outstanding in both broadcasting and admin-istrative skills… and capably nurtured their successors.There are many great names in Guyana’s broadcasting,functioning within the radio stations as well as throughthe Government Information Service (Lloyd Searwar,Victor Forsythe, Percy Haynes, author Peter Halder, thenow celebrated British poet Grace Nicholls, CecilySmith and other outstanding staffers, including, for ashort time, Ron Sanders, Keith Barnwell andWordsworth McAndrew) with its many public affairsproductions and special programmes targeted atschools (particularly so by the sisters Lynette andCeleste Dolphin), agriculture and other main sectors ofthe economy. (A listing by me of a hierarchy must nec-essarily exclude personnel whose entry was subsequentto my departure from Guyana in 1977).There were these main categories within Guyana’sbroadcasting corps: (a) Capable administration person-nel who were also superb announcers; (b) Brilliantannouncers who were promoted into administrationpositions; and (c) outstanding announcers who extend-ed the in-studio activities and took their talents intoexpansive community and charitable programmes.



24

CELEBRATE GUYANA'S GOLDEN JUBILEE: STRUGGLES. STRENGTHS: Prominent among the early greats at the microphone were Ulric Gouveia,Lillian Fraser, B. L. Crombie (whose sterling work inspired “Reds” Perreirainto sports broadcasting), Pat Cameron (Aunty Cumsee), Olga Lopes-Seale,celebrated for her singing with Jack Casimir, her social work and annual lav-ish Christmas Party for the underprivileged (she transitioned to Barbados,maintained a high profile in broadcasting and social work and earned theisland’s highest honour, equivalent to a knighthood).

Rafiq Khan, the suave golden-voiced gentleman, not only fascinated lis-teners with his voice, style and professionalism, he went to the country’s lead-ing boys colleges and personally recruited the next generation of Guyaneseleaders in broadcasting and public communication, including HughCholmondeley, Clairmonte Taitt, Vic Insanally.The Khan corps of bright, enterprising young men helped to raise the stan-dard in local broadcasting, discussion programmes and on-air entertainment.Most progressed into prominent positions in other countries and interna-tional agencies.Senior announcer Ayube Hamid, Mrs. Lopes-Seale and pianist MikeMcKenzie were leading lights in the highly popular weekly hour-longOvaltine-sponsored singing programme for children.One of the history-making developments was the first local soap opera “TheTides of Susanburg” written and produced by cultural icon Francis QuaminaFarrier, the huge popularity of which encouraged him into an equally successfulsequel.Widely acclaimed public participation (via the telephone) programmesincluded one called "Action Line", with numerous adherents, one of whom -Cecil "Rugged Mack" McIntosh, a delivery van driver for the then British-owned Bookers Stores Ltd., was so proud of his participation, he got into thehabit of introducing himself to people on the street as "I am Cecil McIntosh,the man who appears on Action Line".

Of equal radio fame was a con-tributor who called himselfAbrahms. He phoned in nightlyand announced himself with oneword, "Abrahms" and alwaysbegan by saying "in my lastbroadcast..." If interrupted bythe presenter, he would listen insilence and then take up precise-ly where he had left off in a care-fully scripted statement.Another great favourite was afriend of mine SidneyGonsalves, a near idiot-savantbut who remembered everythinghe had ever heard or read, andin the programme he impressedby correctly responding to gen-eral knowledge questions fromthe public. One night someonecalled in to ask: "what year wasmy father born?"


CELEBRATE GUYANA'S GOLDEN JUBILEE: STRUGGLES. STRENGTHS:

Memorable also was a personality like BertieChancellor (at the time widely regarded as the world'soldest teenager, for the great ease with which he inter-acted with youths).Former Guyana Graphic Ltd. General Manager RicardoSmith recalls: "Without a high school education andcoming out of very modest circumstances, Bertie wasdogged and indefatigable in his determination to makea contribution to radio programming and nationaldevelopment."Bertie Chancellor worked in the days of ZFY and RadioDemerara with Vivian Lee who bought time on the sta-tion for programmes that he produced and presented.Bertie later became the Librarian at Radio Demerara,but he was popular mostly for "Teenagers' Choice" onSaturdays. It attracted hordes of teenage girls whoturned up at Radio Demerara to select records and toexplain their choice live.Broadcasting inspired cultural excellence, with“Theatre Guild” in the forefront through its many out-standing stage presentations. Its early stalwartsincluded Billy and Frank Pilgrim, their sister Cecily,Frank Thomasson and wife Carlotta (nee Croal),Beverley Ann Roberts (nee Rodrigues), Ricardo andJean Smith, Wilbert Holder, Ken Corsbie, MarcMatthews, Henry Muttoo, Wordsworth McAndrew,Robert Narain, Cecily Robinson, ElizabethCholmondeley/Wells (nee Coltress), Canadians Keithand Glenna Tisshaw; and that remarkable cadre ofnew-breed White expatriates like Graham Jones andPeter Drury who with fellow Briton Thomasson built

the first Theatre Guild "Playhouse" virtually nail bynail, and with their own hands.Broadcasting and the "Playhouse" helped to producewhat one Guyanese who both participated in andobserved the scene referred to as "that interestingsocial phenomenon of upper-class, mostly light-skinned young ladies, and a few rather more brown-skinned ones too, being recruited as announcers"...which is to say that broadcasting in those days was con-sidered a not insignificant element of the social hierarchy.In the mid-1960s, the government selected some stal-warts within the broadcasting network and sent themto England for training in television broadcasting, butthe hoped-for launching of TV in Guyana with theteam's return did not then occur.Today in Guyana, as so often is the case elsewhere inthe former British Caribbean, technology/mass produc-tion/new age standards is trumping quality in broad-casting. The infusion of freely accessible material fromsources abroad and the amazing all-round capabilityand storage capacity of cell phones appear to pose thegreatest challenge to the survival of broadcast systemsin the country as I knew them. Today’s systems willhave to adapt, improve and compete, or disappear.As Guyana celebrates its 50th Anniversary ofIndependence, it can well take pride in the quality ofbroadcasting personnel and services it has produced;and in the fact that its experience therein is fastapproaching the very significant milestone - A CENTURY.

25


26CELEBRATE GUYANA'S GOLDEN JUBILEE: STRUGGLES. STRENGTHS:

Eusi Kwayana summons the most resourceful ofcontributors, each painting a disturbing pictureof 1970s Guyana where good governance is sacri-

ficed at the altar of immediacy, entitlement, corruption,and concupiscence. We read from a former member,“They [Guyana government officials] even slept withsome of the women, the white women [of Jonestown].They had a thing for white women. They thought that itwas gold. We had beautiful black women but theywould never gravitate toward them.” Kwayana delvesfar deeper. To understand Jonestown we must under-stand racial dynamics in bygone America. Jones’ vision,according to the author, was subliminally tied to theWorld Peace Mission of Father Divine, a New Thoughtmovement that attracted disillusioned blacks in the1930s. Father Divine claimed to be God in flesh. Jones,no doubt studied this equally compelling figure, fash-ioning his model after “Divine’s’ ‘heavens’ or housingaccommodations for blacks across the US. The principaldifference was that Jones moved his dream overseas.The Jonestown Plantation by Drs Lear K. Matthews,and George K. Danns, lends another layer to this narra-tive. While cooperative socialist experiments were notalien to the economic culture of Guyana, the People’sTemple Agricultural Project was a foreign transplantthat was unique and dissimilar to the norm. Matthewsand Danns argue that “Jonestown was an atavism, arecreation of a slave plantation with similar character-istics. The master and his white lieutenants came toGuyana similar to the transatlantic journeying of earlierwhite colonizer, “where blacks were made to sublimatetheir passions and orient their behaviour in accordancewith the austere demands of Jim Jones……The commu-nity of Jonestown residents, like slaves on the planta-tions, did not own anything except their individual

labour power.” And although short on details theyadded that, “not only were the CIA and Americanembassy more informed about People’s Temple thanwere local military officials, but the latter were ostensi-bly prevented from investigating that “isolated commu-nity” until after the tragedy.”Kwayana’s revelatory essays, in particular, FatherDivine and Rev. Jim Jones, and Race and Gender in thePeoples Temple, present a piercing look at race, history,and the phenomenology of sexual exploitation. Of JimJones, he writes: “His sexual activity impinged on thegovernance of Jonestown.” He agrees that Jones and anarrow circle of white women managed Jonestown.“This small band would therefore have great influencewith him…Had the most trusted advisers not been bedintimates of Jones and loyal and devoted to him, beingunder his spell, then a number of influential colleagues,men or women, might have swung White Night (masssuicide rehearsals) proceedings away from the apoca-lypse.” ‘A new look at JONESTOWN’ is an elucidating,mesmerizing read that transcends Jones’ captivating,precipitous slide into madness. It is a call to prudenceand responsibility on a personal and national level. Thesanctity of life and human dignity must never be com-promised, but we are warned repeatedly that the wilesof political agents – domestic and foreign – are ever-present.

A NEW LOOK AT JONESTOWNby Eusi Kwayana$19.95 (includes S&H) within the USA

To Order: (All USA and Canada ) Keith Easton - [email protected] Tel: 240-601-3892 West Coast residents may order also fromEusi Kwayana - tkwayana @gmail.comTel# 619 267 6779 New York - John Massay jmassay1@ verizon.netTel # 347-228-6939

Extracts from a review by Dr Glenville Ashby


27


28 !

!

"#$%&'()(*+!&,'%)!-.&!/01,*,2)!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!/.3#%*!405(3%%!6.0$%*(&!7.88%8.&,'($%!4.0&*,3!!

Guyana at 50: Reflect Our Journey – Forging Unity and Embracing Modernity

!SOUVENIR JOURNAL AGREEMENT

"#$$%&!'#&!()*&+',%,-.!/(01(.&!'#('!,%!+,.#'!2$+!3$4! !!

The Journal will be widely distributed in New York and Overseas during the period of our celebrations: June 4 – 12, 2016. Purchase “Premium” advertising space in the Guyana Golden Jubilee Souvenir Commemorative Journal and receive our complimentary Journal Patron listing on the CelebrateGuyana50thinNYC website. If you provide a website address, we will hotlink to your site. We offer a variety of ad sizes and rates to suit your needs. Kindly make your selection here: Premium Advertising Placement :

Outside Back Cover: Color SOLD Full Page: Black & White $ 1,000.00 Inside Front Cover: Color $ 5,000.00 Half Page: Color $ 500.00 Inside Back Cover: Color $ 5,000.00 Quarter Page: Color $ 250.00 Gold Page $ 2,500.00 Jubilee Supporter (Booster) $ 50.00

Your Name and Jubilee reflection Full Page: Color $ 1,500.00 "!

Please complete this Agreement and return with your Advertisement

BE PAID FOR ALL ADS MUST IN FULL NO LATER THAN May 1, 2016 Name: _______________________________________________________________________________ Business/Organization: _____________________________________________________________________ Address: ________________________________________________________________________________ Telephone Contact: ( ) ____________________ Email: _______________________________________ Ad Format Requirements: Ads must be submitted camera/print ready preferably on CD or Flash Drive Ads may be edited for professional presentation File Formats: PDF, JPG, Publisher & MS Word. Jubilee Supporter (Boosters): Submit a phrase 25 characters or less describing your reflection of “Guyana at 50” which will be added to the Jubilee word cloud, your name will be acknowledged as a Jubilee Supporter. (Booster not to exceed 25 characters)___________________________________________________________________

Please make check/money order payable to: Guyanese American Independence Commemoration Committee Inc.

Mail to: Guyana’s 50thIndependence Anniversary Celebration Committee (New York). C/o Guyana Consulate 308 W 38th St, New York, NY 10018

For further Information Email [email protected] or Tel: 347-224-8732

DO NOT WRITE BELOW THIS LINE Date Received: _____________________________Received by: ______________________________________ Amount: $...........................Check #................................Money order: #..........................Cash: !!!!!..


29


DancePROGRAM FOR KIDS

Dance is a wonderful activity for kids. Dance will foster apositive self image in both girls and boys. A child introducedto dance at an early age will likely develop a love of thearts and a passion for rhythm and movement. Most importantly, dancing is lots of fun!A DIVISION OF THE GUYANA CULTURAL ASSOCIATION OF NEW YORK, INC.

GACC&GUYANA ARTS & CULTURAL CENTER

EXPLORE CREATIVE EXPRESSION THROUGH MOVE-MENT BY LEARNING DIFFERENT DANCE TECHNIQUES

MODERN, BALLET, KATHAK, HIP HOP,CARIBBEAN & WEST AFRICAN

GIVE YOUR CHILD THE BEST START IN DANCE


30

CLASSES START SATURDAY APRIL 9ADULTS: 10.00 -11.00 a.m. KIDS: 11.00 a.m. - 12.00 p.m.

REGISTER: 800 774 5762 2806 NEWKIRK AVENUE (2nd. FLOOR) BROOKLYN, NY 11226

31



SUNDAYJUNE 12, 2016Route: Church Ave andBedford Ave, to Ralph Ave toFlatlands Ave, Brooklyn

Mashramani (Carnival) in New York” affords theGuyanese diaspora an opportunity to, in typical “Mash”carnival-like atmosphere, come together to celebrateour nation’s golden jubilee Independence anniversarywith costume band parade, masqueraders and a sea ofGuyanese nationals displaying renewed national pride,patriotism and national unity in artistic and culturalsplendor. Mashramani – an Amerindian word whichmeans “celebration after hard work,” will live out itstrue meaning in New York with “Mashramani in NewYork” depicting various aspects of our culture andstages of our national journey under the theme“Celebrating 50 Years Of Nation Building”.

The Parade:The Parade will comprise marching bands, floats ofvarious sizes, masqueraders in costumes choreo-graphed to depict various themes that reflect ournation’srich cultural heritage, vast natural resources –like El Dorado –as well as its natural beauty.

The Mashramani Parade will commence with a marchled by committee members, government of Guyanaofficials, U.S federal, state and city officials. Costumebands with their marvelous floats and colorful, ener-getic masqueraders, interspaced with large, wrappedmusic trucks, will follow.

Nationals will be organized in T-Shirt and costumeband formations representing the three geographicalcounties of Guyana: Berbice, Essequibo and Demerarato give the Parade a Labor Day feeling.

Parade RouteThe parade will commence at the intersectionof church and Bedford Avenue, proceed Eastalong Church Avenue, South into Ralph Avenueand East into Flatlands Avenue into SouthShore High School Park, for a grand rally to beaddressed by H.E President David Granger.

The Rally:The Rally will commence around 4:00 p.m. and isexpected to attract approximately 25,000 nationals.The program will include musical entertainment byseveral Guyanese celebrities .

Mashramaniin New York

Tel: 212-947-5115. Fax: 646-915-0237. Email: [email protected]



•MUSICTHEORY •VOICE •PIANO •VIOLIN •CELLO •GUITAR

•SAXOPHONE •TRUMPET •DRUMS•XYLOPHONE •TABLA •SITAR

GIVE YOUR CHILD A GREAT START IN MUSIC

MUSIC PROGRAM

TO REGISTER800 774 5762

GUYANA ARTS & CULTURAL CENTER2806 NEWKIRK AVENUE (2nd. FLOOR)

BROOKLYN, NY 11226

32



DANCER-CIZE & BALLROOM DANCING

Fitness OVER FIFTY

WELLNESSAdult

PROGRAM

33

CLASSES START SATURDAY APRIL 9ADULTS: 10.00 a.m.-11.00 a.m. KIDS: 11.00 a.m. - 12.00 p.m.

REGISTER: 800 774 5762 2806 NEWKIRK AVENUE (2nd. FLOOR) BROOKLYN, NY 11226

For people of all fitness levels. Fun classes to improve your fitness and give you the tools to stay physically active and healthy.

DANCE YOURSELF INTO FITNESS!NO EXPERIENCE REQUIRED

celebrating women’s history month guyana’s first...

Documents