guyana cultural association of new york inc. newsletters

Aug 252012Vol 2Issue 8

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

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

WE ARE THE KIDS OF GCA WE CAME TO LEARN, AND SING AND PLAY,

WE WANT TO BE THE BEST THAT WE CAN BE!

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LETTER FROM THE EDITOR

The month of August conjures upmemories of holidays from school;vacation; and participating in excur-sions, whether it was by bus, boat,punt or train in Demarara, Berbiceor Essequibo. A largely bucolic prac-tice of family outings, excursionsserved as an opportunity to relaxand socialize in a modestly tradition-al manner. In North America, wehave been acculturated to experi-ence the month of August, whosename is generally associated withheat and humidity, as symbolizingthe ending of summer and prepar-ing for the milder fall with expectedrenewed energy.

Significantly, during this month,many English Caribbean immigrantsare preoccupied with Block Parties,massive preparation for Labor DayParades or other Diaspora-centricweekend activities. In this regard,the Guyana Cultural Association ofNew York, in its committed role aspurveyor of Guyanese cultural her-itage, organizes chuck-full-of eventsin its effort to perpetuate the diver-sity of Guyanese culture and tradi-tion.

For the past 11 years GCA has con-tinuously provided a commonground through the Arts, folkloreand literary discourse to entertain,reminisce and articulate possiblesolutions to social problems andethnic differences. The approach ofthis pioneering cultural organizationis not only entertaining, but alsointeractive and inclusive. August istruly a month to contemplate and

invigorate Diasporic potential. I amcertain that many of you watchedthe exciting Summer OlympicGames in London. We trust that youtoo enjoyed the many gloriousmoments, especially when lightning“Bolt” struck.

We pause to remember the contri-bution of Marcus Mosiah Garvey,whose 125th birthday was celebrat-ed on Friday August 17th. Without adoubt, “Garveyites” and many world-wide have, and will continue honor-ing Jamaica’s First National Hero,who was a strong advocate for eco-nomic independence within theblack community and worked vocif-erously throughout his lifetime pro-moting self-sufficiency. We alsocommend Guyana's Ron Bob-Semple for keeping the work of thishero alive.

In this issue, we present a variety ofarticles including a tribute to aGuyanese broadcast communica-tions giant, Hugh Cholmondeley andthe passing of promoter extraordi-naire, Vivian Lee; a report on anothersuccessful Caribbean HeritageSummer Camp; the role ofHometown Associations in support-ing our youth in the Diaspora; theinauguration of the GCA SundayRadio Program; the 2012 GCAAwardees; and the schedule ofupcoming GCA activities and calen-dar of events and more. In promot-ing the theme for this year –Masquerade Lives, the goal is torevive this core Guyanese art formand examine its contemporary stateas we move forward.

Enjoy!

Lear Matthews.

August Editor.

IN THIS ISSUEPAGE 4: Marilyn P. DewarPAGE 5: 2012 GCA HonoreesPAGE 8-10: A Tribute to Vivian Lee and

Hugh CholmondeleyPAGE 11-13 GCA Heritage CampPAGE 14: Arti CameronPAGE 16: Maurice BraithwaitePAGE 21: DCC 100 not outPAGE 24-25: Dudley CharlesPAGE 28-30, 35: Folk Festival EventsPAGE 27: Anything GuyanesePAGE 32: Classique Dance Company

Lear MatthewsEditor

Cover DesignClaire Goring

Copy Editors- Edgar Henry & Lear Matthews

Layout and Design by Claire A. Goring & Ashton Franklin

Contributors:Vibert Cambridge, Juliet Emanuel, Ronald Lammy Terrence O. Holder

Patricia Jordan LangfordClem RichardsonCosmo Hamilton

Lear Matthews Mondale SmithMargaret Lawrence

PhotographsJacqueline Smartt Mondale Smith

Maurice Braithwaite 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 2

Brooklyn, NY 11236Tel: 718 209 5207

AUGUST, THEMONTH TO CONTEMPLATE ANDINVIGORATE DIASPORIC POTENTIAL


32012 GCA HONOREES

GUYANA CULTURAL ASSOCIATION 2012 LIFETIME ACHIEVEMENT AWARD

MarilynDewar

A DISTINGUISHED CAREER IN MUSIC, MARILYN DEWAR IS AN EXEMPLAR TO HER

STUDENTS IN HER MORE THAN FOUR DECADES AS AN ORGANIST AND

MUSIC EDUCATOR

Marilyn Patricia Dewar is the founding principalof The Dewars Music School which she estab-lished to meld two passions with a keen inter-

est in entrepreneurship. Her path to a distinguishedcareer as a musician started at home. At age three, shebegan playing the piano under the tutelage of hermother, Janet Hunte. In her teenage years a successionof iconic Guyanese music teachers trained her to excel-lence on the piano, the violin, the guitar, and the organ.But “While Marilyn enjoyed the piano, violin and violin-cello, nothing fascinated her more than the organ; andit was Mr. Winslow Smith who taught her organ peda-gogy.” The religious music influence set off an uninter-rupted four decades as an organist and music educator.

Nurtured by esteemed tutors such as Miriam Daniels,Daphne Scott, Francis Percival Loncke and John Bun-bury led to her interest in formal classroom teaching.Ms. Dewar’s first steps were into the Teachers TrainingCollege. There she was one of the leading guitar playersand was a member of the ‘Emmel Singers’. This groupof young teachers won the “Best Folk Group” award atthe 1970 Guyana Music Festival. They later produced“Bamboo Fire”, one of the few recordings of Guyanesefolk songs.

At Teachers Training College and the University ofGuyana, Ms. Dewar was trained in the rudiments ofteaching music and music administration. Her lecturersand coaches were the venerable Lynette Dolphin andEdith Pieters. It was during this period that MarilynDewar was the pianist on standard-setting recordingsby the Woodside Choir: “National Songs of Guyana”,“Woodside Sings at Christmas” and “This is Guyana.”

Ms. Dewar’s begining impact on national education inGuyana started as a member of the radio productionstaff at Broadcast to Schools, a Division of the Ministryof Education. Her reputation for high standards wasencouraged with the “very caring and watchful eyes ofCeleste Dolphin and Meighan Duke”, administrators ofthe program. In her continuous pursuit of excellenceshe won an award for a training program in radiobroadcasting at the BBC in England. Ms. Dewar thenserved as a producer of the Broadcast to Schools airednationwide.

Being the organist and choir master at Christ ChurchAnglican Church for forty years is an indicator of thedeep commitment by Marilyn Dewar to music. But it isnot her single contribution of that intensity. Over thesame period Guyanese society has absorbed the prodi-gious, indisputable dedication to the education of itscitizens by our Lifetime honoree. Ms. Dewar has taughtin several public schools and an international one inGeorgetown. As Secretary of Guyana Music Association,she and colleagues reintroduced the Guyana Music Fes-tival. She also serves as the Director of Music of theGuyana Musical Arts Festival Inc.

As an exemplar to her students she has earned manycertificates in music from the Associated Board of theRoyal Schools of Music and The Trinity College ofMusic, London. Ms. Dewar holds a Bachelor’s Degree inEnglish from the University of Guyana and a Master’sDegree in Education from Framingham University inMassachusetts.

Marilyn PatriciaDewar

A DISTINGUISHED CAREER IN MUSIC4

Ronald H. Lammy

FOLK FESTIVAL 2012: GCA AWARDS HONOREES


Elrich A. EastmanCommunity Service

Marilyn P. Dewar Lifetime Achievement

RECIPIENT OF THE 2012 GCA LIFETIME ACHIEVEMENT AWARD

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2012 GCA AWARDS HONOREES

Derry EtkinsEducator

Charmaine BlackmanArtiste

Lear MatthewsEducator

Judge Elrich EastmanCommunity Service (Posthumous)

Alissa TrotzEducator

Joseph Burgan-TrotmanArtiste

Desmond “Putagee” VivieriosExemplary

Andron AlphonsoExemplary

Rosalind Kilkenny McLymontCultural Enabler

Maurice BlenmanCultural Enabler

Mel CarpenCommunity Service

Lionel BlacketteArtiste

PHOTOGRAPHNOT

AVAILABLE

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Childhood memories could have severalcharacteristics: memorable, positive, andformative. Those words come to mind

on recollections of Masquerade in the pre-inde-pendence decade in Guyana. Growing intoadulthood one would learn that the musicrhythms and the step dances had an African ori-gin. The primary dancing performers presenttheir art form in bright, multicolored costumes.The music accompanists play the flute and ket-tle drum with atypical flourish representing themelding of African creativity with Europeaninstruments. This artistry evolved from an inhu-man fact in Guyana’s colonial past. The masteredclass transcended the savagery of capture andslavery and eased their pain through the joy ofmusic and dance.

Some of the main positive elements ofMasquerade are reflected in the accomplish-ments of the 2012 GCA Awardees. Mostpoignant are these: Andron Alphonso brings asocial entrepreneurial spirit to maintaining thetradition. Rudolph Vivierios presents a rare skillas a masquerade flautist, flouncer and drummerthat should be emulated. Lionel Blackette trans-fers his seven plus decades of art form knowl-edge to the next generation which gives a sus-tainability effect.

Masquerade’s music is distinctive and pioneerGuyanese musician Tom Charles made a gallanteffort to popularize it beyond its seasonal set-

ting. In consideration of that ground-breakingcourage, one would presume that MarilynDewar could take her prodigious music andadministrative talents to even higher heights:the founding of Mount Roriama Music Academy.It would be the place where music educationand Guyanese creativity are developed for cen-turies.

Perhaps Rosalind McLymont, a business womanwith impressive Cultural Enabler successescould be joined by Mel Carpen a compatriotwith landmark enabling results. Performingartistes Joseph Burgan-Trotman (MightyEnchanter), Charmaine Blackman and DerryEtkins, together with Maurice Blenman, a skilledarts presentation enabler could be in the nucle-us of a Diaspora team. They could be activelysupported by social science educators AlissaTrotz and Lear Matthews who are keenly atten-tive to the Guyanese well-being everywhere.

Together, our 2012 honorees would continuethe collaborative philosophy of Elrich Eastman,sustain the Masquerade tradition and enhanceits potential for broader influence in the arts.In the year of “Masquerade Lives!” we couldbegin to give forward in a substantial way toestablish a meaningful legacy that continuallyshapes the future of Guyanese arts.

2012 GCA AWARDS HONOREES

AN OPPORTUNITY TO CONTINUEAND SUSTAIN THE MASQUERADETRADITION AND ENHANCE ITSPOTENTIAL FOR BROADERINFLUENCE IN THE ARTS

FOLK FESTIVAL 2012: “MASQUERADE LIVES”

Ronald H. Lammy


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HUGH NEVILLE

CHOLMONDELEY

“Hugh understood broadcasting, he understood Caribbean broadcasting and he remained committed to its advancement.”

A CELEBRATION OF LIFE

8 A CELEBRATION OF THEIR EFFORTS TO BRING LOCAL FLAVOR TO RADIO BROADCASTING

Guyana was a very earlier adopter of radio broad-casting, and from virtually the beginning, inven-tion and innovation aimed at giving it local flavor.

Radio broadcasting is said to have started on June 27,1927, when the local wireless company began to relayprogramming from New York simultaneously over thetelephone service and from an experimental broadcasttransmitter. A year later, listeners in British Guiana couldaccess WGY Schenectady, New York; KDKA, Pittsburg, PA;5SWBBCC, Chelmsford, England; PC JJ, Einhoven, Holland;PCUU, The Hague, Holland; and CJRX, Winnipeg,Manitoba, Canada. The majority of the programming onthese stations was music.

By 1930, the experimental station, now with the call lettersVRY, was broadcasting British Guiana Militia Band con-certs from the Sea Wall, church services, dance musicconcerts from “ballrooms,” and music recorded by localmusicians. The effort to bring local flavor to radio broad-casting in Guyana has been a long and ongoing struggle.Vivian Lee and Hugh Cholmondeley must be recognizedand celebrated for their efforts in that struggle. They wereassociated with some of the pivotal moments in thedevelopment of the mass media in post-World War IIGuyana. Staring in the1940s, Vivian Lee became theexemplar of the independent program producer. HughCholmondeley piloted the establishment of public ser-vice broadcasting in Guyana.

Vivian John Lee (August 27, 1919-August 16, 2012)

St. Stanislaus-educated Vivian Lee demonstrated thecapacity of Guyanese to produce a diversity of radioentertainment programming genres—the variety show,the game show, the talent show, and the hit parade. Inlater years he also demonstrated the ability of Guyaneseto produce feature films. Vivian Lee ran the AceAdvertising Agency which he founded in 1948 afterreturning from the United States where he had complet-ed a course in radio broadcasting at the CambridgeSchool of Broadcasting in New York. At that time in theUnited States, brokerage was a popular program produc-tion model. Under this arrangement, the producerbought blocks of time from a radio station and produceda program in which he sold advertising. Lee used thatmodel to guide his radio work in British Guiana. Ace

Advertising Agency specialized in promoting consumerproducts, such as Ovaltine, and alcoholic beverages, suchas Guinness Stout and XM Rum. Lee used the radio talentshow and the variety shows featuring Guianese musiciansas the primary vehicles for promoting his clients andtheir products. Through the Ovaltine account, helaunched The Ovaltine Amateur Hour—a live talent showon ZFY—the dominant local radio station at the start ofthe 1950s. ZFY became Radio Demerara in 1951. Theshow was the Guianese version of the popular AmericanGong Show. For the local production, the gongmeisterwas Harry Mayers, and his orchestra was the house band.”In a 2003 interview, Lee reminisced that King Fighter andLord Canary were two contestants who, despite being“gonged,” went on to garner recognition in B. G. andTrinidad as accomplished calypsonians.

As an independent radio producer Lee launched othertrend-setting radio programs, such as Tops in Pops, andvariety shows like the popular The Gypsy Caravan featur-ing Miss Snodgrass. Lee described the latter as a “collo-quial show with low-brow humor” featuring a “live bandwith four or five people—piano, guitar, bass, drums, andsinger.” The radio programs produced by Lee were popu-lar and provided an opportunity to showcase the colony’semerging popular music talent. The shows featuredworking class folks. Top of the Pops, sponsored by AutoSupplies, was a pioneering vehicle that provided a weeklyupdate on international popular music. Top of the Popsconnected British Guiana with international musicaltrends and stimulated the emerging record sales sector ofthe Guianese economy. Lee was able to capitalize on thisby establishing Ace Records and Ace Records Club. It wasAce Records that launched Johnny Braff and producedthe important LP Let’s Celebrate Guyana’s Independence.

Hugh Neville Cholmondeley (April 13, 1940-August, 10, 2012)

Queen’s College-educated Hugh Cholmondeley startedhis career in broadcasting in British Guiana in 1958. Hewas employed as an announcer at the British GuianaBroadcasting Service (BGBS)—Rediffusion International’ssecond channel. The other channel was Radio Demerara.According to the eulogy delivered by his son-in-law NigelHughes, Hugh was probably the “first Disc jockey in theCaribbean.”

A TRIBUTE TO VIVIAN LEE AND HUGH CHOLMONDELEY

“I heard it on the radio”Vibert C. Cambridge, Ph.D.


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This was in response to a challenge. As Hughes noted,”[t]he operators were continuously late and Hugh usedhis resourcefulness and fine brain to combine the tasksand would perform both tasks as operator and announcer.This was the first and original DJ.”

This resourcefulness was a result of his Q.C. years. Hewas the product of an era when students were preparedto be proactive and bring a confident Guyanese voice tothe public sphere. He was part of a cohort that includedWalter Ramsahoye, Walter Rodney, Terry Holder, VicInsanally, Rupert Roopnarine, and Laurie Lewis. ForCholmondeley, radio was more than a vehicle for channel-ing the BBC News, Clithero Kid, Aunt Mary, and DoctorPaul. It was a vehicle to present quality materials thatwould educate, entertain, and motivate the entireGuyanese society. Further training at Syracuse Universityreinforced this confidence.

In 1968, after two years as Director of News and CurrentAffairs at Radio Demerara, he was tasked by the govern-ment of the newly independent nation to establish theGuyana Broadcasting Service (GBS). As General Managerof GBS, he assembled an exceptional team of broadcastersdedicated to creating Guyanese radio. This was the gold-en age of radio broadcasting in Guyana. Through outsidebroadcasts, documentaries, and attractive entertainmentprogramming, GBS demonstrated refreshing creativity and

established its credibility. Think about it: so many mem-bers of that GBS team assembled by Cholmondeley—Terry Holder, Vic Insanally, Carlton James, “Reds” Pereira,and Ron Saunders--went on to carve impressive interna-tional broadcasting careers.

Vivian John Lee and Hugh Neville Cholmondeley weretwo pioneers and visionaries. Through their work, theydemonstrated that Guyanese can create and encourageworld class content and manage complex organizations.More important, they demonstrated that broadcasting isboth an art and a science that requires education andtraining. They have left high standards for the currentgeneration of broadcasters in Guyana to emulate and sur-pass. The task of creating Guyanese mass media is evenmore pressing in 2012 than in 1927. The Guyana CulturalAssociation of New York, Inc., mourns their passing and isconfident that their legacies will help in the healing ofour Guyana.

Radio Static, “Weekly Radio Review,” The Daily Argosy, Sunday,December 30, 1928, p. 9 & 14.

The Daily Argosy, July 25, 1928.

Trev Sue-A-Quan, “Vivian Lee: Broadcasting Ace.” In Trev Sue-A-Quan (ed.) Cane Ripples: The Chinese in Guyana. Vancouver:Cane Press, 2003, p. 193.

Trev Sue-A-Quan, “Vivian Lee: Broadcasting Ace.” In Trev Sue-A-Quan (ed.) Cane Ripples: The Chinese in Guyana. Vancouver:Cane Press, 2003, p. 193.

A TRIBUTE TO VIVIAN LEE AND HUGH CHOLMONDELEY

“I heard it on the radio”

Vibert C. Cambridge, Ph.D.

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CELEBRATING THE LIFE OF

If one thinks of a handful of namesthat must appear on any shortlist ofCaribbean broadcasting, then surely

that of Hugh Neville JamesCholmondeley must inevitably be closeto the top. My association with Neville,as he was known then, began atCommenius Moravian ElementarySchool and later that institution of acade-mic greatness, Queen’s College in 1952.

He qualified and entered Queen’sCollege in 1951, I won a county scholar-ship and joined him in 2A in 1952. Therewere six houses and we were both in Percival House. I latertransferred to Moulder House. Among our classmates wereRoger Isaacs and Maxie Bacchus.

I distinctly remember Neville’s handwriting, it was extraordi-narily legible. Many others were not. Those were the dayswhen English included an exercise called reading. The Masterwas none other than C.A. Yansen. Each student would have toread aloud and this demonstrated comprehension. I believethat Neville’s confidence came from this and motivated him topursue a career in broadcasting.

Neville was a good athlete, who ran the 100 yards. This wouldhave been at the same time with Alvin Thompson, nowProfessor Emeritus at UWI. We called him 9.9 as he ran the100 yards in 9.9 seconds . Alvin's son Obadele went on to winthe 100 meters in 9.9 at the 2000 Olympic Games.

Neville then lived in Subryanville and his ‘villagers’ includedRichard Berkely Field, S.C, He too was a great athlete and Allan“Stoogie” Reid, a champion footballer. He was also a decentfast bowler.

In the 50s most boys either walked or rode to school. Nevillecame by car. His father H.M.E. Cholmondeley was a seniorpublic servant.

In 1957 he left Queen’s and joined the Guyana BroadcastingService, then one of the two channels along with RadioDemerara, operated by Rediffusion of London. In 1960, ourpaths would cross again when I began working with theGovernment Information Service (GIS) Broadcasting andwould meet Neville, now called Hugh at Broadcasting House.

When the government took the decision to establish the newGuyana Broadcasting Service, Hugh then joined me,Wordsworth Mc Andrew, Ronald Sanders, Lloyd Searwar andVic Forsyth.

On October 1st, 1968 the new Guyana Broadcasting Servicewas founded. Some of the ‘old’ GBS staff that came over wereMatthew Allen, Beverley Ann Rodrigues, Clairmont Taitt andPansy King. Hugh was General Manager, I was the ChiefProducer. We were moving from a stage where broadcasterstalked to people to what Hugh said should be broadcasterstalking with people, using the call in programme ‘Action Line’.

I remember the work done to bring television to Guyana. In1968, a number of staff were sent to London to train for televi-

sion at the British Broadcasting Corporation, among themRicardo Smith, Ken Corsbie, George Lee and Assad Rayman.

Hugh joined the Carifta Secretariat sometime after. TheSecretariat was based in Georgetown and Hugh worked withFred Cozier and Dick Henderson. It was through this desk thatthe Caribbean Broadcasting Union was formed.

At a meeting in Jamaica in 1969, General Managers andProgramme Directors from the state owned media got togeth-er and one year later, the CBU was officially launched inGeorgetown at the Pegasus Hotel. Martin Carter, then Ministerof Information said, “The world has become a village, a villagein which we shun parochialism.”

Hugh Cholmondeley recognized the point that we were justfed the news and everything was through the eyes of themetropolis and something needed to be done. He was the drivingforce behind the Caribbean News Agency, CANA.

It was at the international level that Hugh then emerged.UNESCO recruited him and he was based in Jamaica and laterreunited with his mentor Rafiq Khan there.

When I became the CBU President I could always rely onHugh’s assistance if needed for funding of any programme.

Hugh understood broadcasting, he understood Caribbeanbroadcasting and he remained committed to its advancement.

When Hugh returned to Guyana, we would meet socially andlater worked together to launch the Guyana KidneyFoundation with a number of our QC colleagues, Dr. GeorgeNicholson, Dr. Deen ‘Bhagi” Sharma and Major General Ret’dJoseph Singh.

I last saw my friend Neville Hugh James Cholmondeley at alunch arranged by Vic Insanally about two months ago. We dis-cussed our various ailments as men of a certain age do and hespoke of his family’s good intention to get him to eat right andhis resistance supported by a doctor who told him that it wasdifficult to change the eating habits of a man more than seven-ty years old. I agree.

I didn’t think I wouldn’t see him again. I am saddened by hispassing. May he Rest In Peace and may his life’s work andaccomplishments be a standard for all who practice in thefield of broadcasting. I will miss Hugh.

Hugh NevilleCholmondeleyReflections by Terrence O. Holder


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In an earlier report on the Caribbean Heritage SummerCamp, we wrote the photos speak for themselves; forthe Closing Ceremony the videotape will speak for

itself.

I doubt whether there were no proud persons in theaudience on Thursday, August 16, 2012. The campers wel-comed, sang, danced, modeled crafts, presented flowers;the interns ran the program, hosted the reception andthemselves showed off the crafts. Throughout the entireprogram, from the emceeing, to the words of apprecia-tion, to the audience, from the presentation to the CampDirector, to the blessing of the sumptuous meal, bothcampers and camp interns scripted their own witty, gra-cious speeches. It was a thoroughly enjoyable few hourswhich ended with the visit by Council Member MathieuEugene who also beamed with pride. One of the twoCity Council members who sponsor the SummerHeritage Camp, he expressed his delight with and enthu-siasm for the work that he and Council Member JumaaneWilliams are helping to promote via this community out-reach by GCA.

GCA plans a major initiative derived from this aspect of

its community work. Parents, who were a bit disappoint-ed that they could not buy the bags that were on displayas part of the Exhibition of Work, were happy to find outthat all the crafts were the children’s own and were to betaken home. Campers took home books courtesy ofGuyana Tri-State Alliance and from the Great BookGiveaway from their own Book Hut, their own writings,kites, artwork and that recipe for making play dough.

As part of the Science module they have becomeinvolved in the STEM initiative and the intricacies ofaerodynamics. Their exposure to Music allowed them toexplore theory and performance, including experienceswith the drum.All of this was recorded through the won-derful photography of Maurice Braithwaite and DenisBraithwaite.

Perhaps, it was the pride on all their parents’ and rela-tives’ faces that justified all the children’s labor for the sixweeks.

Masquerade was never more vigorously danced by five toeleven year olds. Confidence was never more displayedas they waited through a tech glitch. And surely the folksongs of Guyana and gospel music have not soared withsuch joy as in the activity hall of Flatlands Reformed

Church as they did on Thursday. Then it was over andthe feast began.

Sponsors: Flatlands Reformed Church, Guyana Tri-StateAlliance, Materials for the Arts, New York TutorialSupport Group, Bishops’ High School Alumni Association,NY Chapter, Caribbean American Social WorkersAssociation, Ms. Muriel Glasgow, Ms. Lynette Marshall, Ms.Pat

Jordan Langford and Mr. Charles Liverpool saw the resultsof their faith in the campers. As the campers sang aboutthemselves--they are the kids of GCA. Music!

Masquerade was never morevigorously danced by five toeleven year olds. Confidencewas never more displayed asthey waited through a technicalglitch. And surely the folk songsof Guyana and gospel musichave not soared with such joy.

2012 GCA SUMMER HERITAGE CAMP CLOSING CEREMONY

Juliet Emanuel

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2012 GCA SUMMER HERITAGE CAMP CLOSING


14GUYANESE YOUTH ON THE WORLD SCENE: BEAUTY, INTELLIGENCE AND GRACE

MISS GUYANA

WORLD 2012

WINNER OF “PEOPLE’SCHOICE AWARD”MISS WORLD COMPETITION

ArtiArtiCameronCameron


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Arti Cameron the reigning 2012 Miss Guyana World .was awarded the winner of the official "2012People's Choice Award" at the Miss World competi-

tion on August 15th. with over 7,000 votes. Hurrah toeveryone who voted for Arti. On August 18th. at thefinals, the Miss World Crown eluded her, but, She is a win-ner, Guyana’s Queen, and deservedly so.

Even though Arti Cameron, Miss Guyana World, 2012 wasbeset with many hurdles, and knew that she was startingher quest for the Miss World Crown with negative pointsfor not being able to present her “Beauty with a Purpose”tape that was withheld from her. A project that she com-pleted at “The Ruimveldt Children’s Aid Center in Guyana”that was a significant and a required element in the scor-ing process. She remained radiant at every function, everyevent, showing confidence and poise with a single pur-pose to showcase her country in a positive way to theworld, while making sure that she was competitive atevery happening and rising to every occasion while con-tending with 131 other beauties from around the world.

Beautiful, regal, humble, proud and intelligent were someof the labels of distinction that were given to thisGuyanese in Ordos, China on the world stage. She hadhoned her modeling skills in Guyana by working withsome well known Guyanese Designers, among them wereSonia Noel, Vonda Gaspar, and Myrna Lee as part of theirelite runway models and she was on point. In New York,Guyana’s Queen hit the runway,. modeling and makingseveral appearinces for as many as five designers at thePLITZS New York City Fashion Week, one of the premierevents in New York which was held at The Warwick Hotelin Manhattan. She also participated in modeling designerswim suits for Bikini Under the Bridge that is a leading,annual swimwear fashion extravaganza that attracts mod-els and designers from across the world . Michele Cole,Guyana’s designer was one of the leading designers at thisevent. In China she was exceptional, dazzeling every-one. Guyanaese felt proud.

With a passion for life Arti has set herself many goals. Agraduate of St. Joseph High School in 2000. her manyextra curricular activities served to enrich her academiclife. She represented her school in many ways: she playednetball, participated in Mashramani dance competitions,was chosen to be the first speaker on the school’s debat-ing team, was elected president of the environmental stu-dent group- The Green Team; won the 2003 Miss St.Joseph High School pageant (Junior Queen), modeled atschool events, and passed nine subjects at the CXCO’level exams in one sitting. Arti then attended QueensCollege just prior to migrating to the United States inDecember, 2005. She subsequently graduated from Hunter

College, in Manhattan in June 2011 with a Bachelor’sDegree in Biology and a minor in Chemistry. Ms Cameronis now studying for the Medical College Admission Test--MCAT exam). She hopes to be a Doctor – another attain-able goal.

Arti, the optimum of Beauty with a Purpose volunteersand supports many orgaizations. In addition to theRuimveldt Children Aid Center, she supports AFRICAN –an organization dedicated to helping children with post-war traumatic situations in Africa. She also volunteers atThe hospital for Special Surgery, Manhattan, New York,oneof The United States leading orthopedic hospitals.

It would be remiss of me if I did not thank the many personswho contributed and responded to make sure that MissGuyana World represented Guyana in Ordos China.

Sincere thanks to The Guyana Tri-State Alliance, Inc andEfney Morgan who made sure that Arti had a fabulousdesigner wardrobe, members of GTSA-Mohamed Safee,Yvonne Marcus, and Yvonne Chaliha, Mr. L. Daniels, whocontributed to her Designer Competition Gown, designedand created by Guyanese designer Michele Cole of COLE-FACTS, Jonathon Locke, Clare Patterson-Monah,theClement Family, “Kali” of Kali’s Travel, Phillipe Marrish ,Roger Gary, The Guyana Cultural Association, Inc, PatriciaCotes, “The Nest” Restaurant, The Hibiscus restaurant, Dr.Dhan Paul Narine, Amanda and Lisa Chaliha, PanditRamlall. In addition, thanks to her father, Mr. WilfredCameron whose love kept her strong and resolute. Theabove are just a few who came forward and answered“the Call”. This was a real happening, a coming together ofGuyanese, and non-Guyanese as one with a purpose-tomake the dream of Ms. Arti Cameron a reality, and tomake sure that “the Golden Arrowhead”was flying proudlyin China.

To quote Miss Guyana World “Thank you Guyana andsupporters from around the world! I had an amazingtime in China and got to live my dream of representingmy beautiful country on the international stage! MissWorld - Guyana & Miss World."

GUYANESE YOUTH MAKING AN IMPACT ON THE WORLD SCENE

Arti Cameron, Miss Guyana WorldBeauty with a purpose ...

Pat Jordan-Langford

“Thank you Guyana and supportersfrom around the world! I had an amaz-ing time in China and got to live mydream of representing my beautifulcountry on the international stage! MissWorld - Guyana & Miss World."

Arti Cameron


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Maurice Braithwaite doesn’t like to talk about him-self, but boy, does he tell great stories, many ofwhich tell a lot about the storyteller.

Like this one, about growing up in a Georgetown, Guyana,tenement yard — a low end housing project — with anaunt who had 24 children — yep, 24 — yet took the then13-year-old Braithwaite and his four siblings in after theirfather died.

“This house didn’t have any furniture,” the 71-year-oldrecalled. “Our bed was the floor. But for us young kids, itwas very exciting.

“They used to call that particular tenement yard a stableyard, because the undertaker in those days had horsedrawn carriages, and he used to keep his vehicle rightunder the house where we lived, because in Guyana allthe houses were on stilts. When it rained the place wouldflood.”

Braithwaite’s twinkling eyes match his laugh as he’stelling this story, and it’s unclear if the engineer, the actor,the orator or the community activist in him gets the big-ger tickle out of telling it.

“When people ask me how my acting career got started Isaid growing up in the stable yard,” he said. “It was a con-glomerate of people who lived there; Chinese, Portuguese,African, East Indian, Amerindians, everyone. On the week-end, it was chaos. Once you come out of that place, if youaspired to be an actor, you got it all.”

It was from that muddy beginning that Braithwaite wouldgo on to earn a electrical technology certificate fromGuyana Technical Institute in 1966, then teach mechanicaldrawing, math and electrical lab there for two years

After immigrating to New York in 1971 Braithwaite earneda diploma in electrical circuits and systems from RCAInstitute of Technology and a bachelors degree in electro-mechanical engineering from the City College of NewYork — he went to school at night, six days a week, forfour years while working a full-time job at a Brooklyn elec-tronic plant.

From 1977 until his 2005retirement Braithwaiteworked for Xerox, risingto customer service fieldmanager for a staff of 30.

Inspired at 10 years oldby an uncle who workedthe Georgetown ‘vaude-ville’ circuit, Braithwaitedabbled and then jumpedinto the Guyanese the-atre, at first using hiselectrical training to lightand design sets.

Eventually he moved tothe stage — Braithwaitewas the voice of Mentore

in a hit radio serial about the fictional town of Susanberg,and worked on productions with the Guyana TheaterGuild and another group, the Forum of Dramatic Aces.

Braithwaite and longtime friend and writer Francis Farrierstarted the theater group, Dramatic Core. The companytoured the country, even visiting hard to reach gold anddiamond mining camps in the unsettled interior.

Braithwaite did the same in his new hometown, serving asdrama director of the New York City-based GuyanaCultural Association, a troupe of Guyanese expats whomount annual theatrical productions here which drawheavily on Caribbean history and traditions.

“Last year we did a production of C.L.R. James’ only novel,‘Minty Alley,’” said Braithwaite, who directed the play andalso created and designed the set — a two-room bunga-low on short stilts that was so realistic audience membersran on stage afterward to get pictures of themselves in thehouse.

Even with all that work Braithwaite still found time to siton the Flushing Suburban Civic Association Board in avariety of offices, including president. He’s been a mem-ber of Queens Community Board 8 for over 20 years, serv-ing as budget director and executive secretary.

Braithwaite and his wife of 40 years, Rosemarie, have twosons, Marcel and Rory. After Marcel won the St. FrancisPrep High School speech and debate contest two yearsrunning and claimed the state title the second time,Braithwaite was drafted as the school’s speech and debatecoach, a position he has held for 22 years.

Braithwaite was a mentor at the Harlem YMCA, and isdrama instructor at Parsons Beacon Child Center of NewYork. He’s also won numerous awards for his volunteerwork, including community service honors from QueensBorough President Helen Marshall, St. Vincent CatholicMedical Centers, the NAACP, and the Metropolitan AreaMinority Employees.

The community is an extension of our homes and wemust be involved,” Braithwaite said. “I can’t sit in thehouse and do nothing. I have to get involved in things, andwhen I get involved, I have to run it.”

Variety is life for MauriceBraithwaite

FEATURE

“...community is anextension of our homesand we must be involved”

Clem Richardson, Daily News


17GCA CELEBRATING GUYANESE YOUTH

ZANA BARROWFINALIST FOR THE MISS NORTHERN USA SCHOLARSHIPPAGEANT

A student at Clara Barton High School for Health Professionals, Zana is majoring in Dental Laboratory Technology and is listed as one of Clara Barton’s best and brighest.

A member of her school’s female track team, Zana volunteers at hospitalsand homeless sheltersin her community and has donated books and toys to under privileged children in her neighborhood.

The Miss Northern USA Pageant is a true scholarship program and awards are based on scholastic achievement, public speaking, volunteerism and individuality. This year, to mark their 10th anniversary, they wil be awarding $10.000. in scholarships.


KEEP SUPPORTING LOCAL TALENT!DONATE OR SPONSOR

KEEP MERUNDOI ON THE AIRThe tradition of Radio Drama is very real to us as Guyanese. Just mention 'Uncle Paul' or 'Aunt Mary' and a wave of nostalgia envelopes us. Wehated that vagabond, Mentore, in 'Tides Of Susanburg' and Sgt. Ignar Trellis from 'LetThe Lion Loose' describes the crudest among us. Now it's 'Merundoi’, since 2006.These 2x15 min weekly episodes cover social issues from HIV to Governance to GenderBased Violence. Join listeners in 25 other countries and listen on line at www.merundoi.org.gy .

Many persons have told us that they are enjoying this season of Merundoi. Thank youfor this positive feedback, however we regret to tell you that we may have to end thisseason prematurely due to the lack of funding.So we’d appreciate your sponsorship or subscription to keep Merundoi on air.

To donate, please pay to the Merundoi account (650-520-0) at the nearest Republic Bank .To sponsor, please call 218-3417, 1521 or 1972

OVERSEAS Persons/Agencies wishing to forward donations may use the correspondent bank closest to their location, for onward remittance by swift transfer to -Republic Bank (Guyana) Limited38-40 Water Street, Georgetown, GuyanaSwift Code: RBGLGYGGWith a notification to pay - Credit to Account # 650-520-0 in the name of Merundoi

Let’s keep supporting local talent!

Thank you.

Maggie Lawrence

18


August 2012, the month of African Emancipation, couldbe remembered for many events, good and bad buthistorical non-the-less. Thousands flocked to theNational Park for the African Cultural DevelopmentAssociation's staging of the annual Emancipation Dayin the Park. There through the informed yet entertain-ing abilities of the emcees, patrons including the PrimeMinister and the Diplomatic Corps were guided througha slew of live entertainment. This included culturaldances, recitals and singing from Suriname andJamaica as well as Guyanese troupes. Most outstandingwas the presentation of the Whaul sisters who gotrousing applauses for the more than original soundingcover of Mariam Makeeba’s ‘click song'. The RastafariCouncil's segment was one of celebration for the manyachievements of people of African descent in Guyanaand the Diaspora. The sounds of the drums were infec-tious on and off stage as patrons filed past booths hun-gry for information. Some participants sampled Afro-influenced cuisines such as pone and konke, while otherssoaked up swank and provision, and who can forgetthe sugar cake and sorrel. The stage show lasted formore than six hours and there was never a dullmoment. On the fashion front the creations of Londonbased designer Anetha Daniels were also a commend-able feature of royalty and creative ways of moderndressing with an African influence. Prior to E mancipa-tion Day a Queen was crowned.

Jillicia Pinder, age 19 proved the best of a bevy of nineknowlegable, eye candy of various body types. Theyspoke of the villages bought by slaves following thedeclaration of emancipation. She copped the MissGuyana African Queen 2012 crown as well as the specialprize of best talent for her rendition of MiriamMakeeba's 'Milika'. While the audience was not a soldout one, those in attendance could not complain andleft a more educated bunch. First runners-up areTiffany Spencer of Victoria and Toni Bently of DenAmstel .

They added to persons feeling a sense of pride andmotivation. The sky is the limit to what the Afro-centricman / woman can achieve.

The month's other highlight include the crowning ofMiss Jamaica as the winner of Miss JamzoneInternational from a lineup of nine beauties from acrossthe Caribbean.

AUGUST MONTH IN GUYANA

Miss Guyana AfricanQueen 2012

19Mondale Smith

20


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 during theMasquerade 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.


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

21


Even as we have gone from BGto Blackberry, from postoffice call box to the iPhone,

from Philco radio to plasma TV, it isas though time has stood still onthe corner of Crown and New Gar-den streets where Demerara Crick-et Club (DCC) has sat stoically for100 years – an enduring symbol ofdiscipline, determination, and dedi-cation.

History indicates that DCC wasestablished in 1912 by a group ofPortuguese businessmen as analternative to the British dominat-ed Georgetown Cricket Club(GCC), but membership was opento anyone after 1913. Through theearly years these clubs just blocksdown New Garden street from each other developed dis-tinctly different profiles, with the Bourda club maintainingits colonial upscale exclusivity, while the Queenstownclub entertained a middle class, multi-ethnic membership.If GCC was Guyana’s Lords – so to speak, where in atten-dance one had to be buttoned up and sophisticated, DCCwas the Oval – the alternative iconic venue where onecould relax and be irreverent.

DCC’s location in the midst of a residential communitysurrounded on all sides by colonial and modern typehomes - with no room for physical expansion, lendscharm and character to this relatively modest but storiedsward. Some of the late lamented and living home grownplayers that have claimed this hallowed precinct as theirfield of dreams would include Berkeley Gaskin, brothersRobert Christiani and Cyril Christiani, Leroy Jackman, Bab-sie Dyer, Bruiser Thomas, Richard Hector, Colin Wiltshire,cousins Lance Gibbs and Clive Lloyd, Carlyle Miller, Vin-cent Mayers, Vibart Darjun, brothers Mark Harper andRoger Harper, and a plethora of classy senior cup cam-paigners like Ron Willock, Tapper Bouyea, Terry Cadoganand Horton Dolphin.

If this ground could talk it would speak of the twinkle-toed Robert Christiani who would dance down the pitchto spinners as he drove them out of their comfort zone. Itwould regale you with anecdotes of the extraordinarypower of the young Lloyd who hooked, cut, and droveimperiously anyone and everyone to all parts of thisprized piece of real estate – scorching the field, pepperingthe fences and homes beyond the boundary. And it wouldmuse of the majesty of Colin Wiltshire’s on drives thatseemed to caress every blade of grass on their way to thefence; it would relate stories of the barrel-chested bespec-tacled Ron Willock and beanpole left-arm Carlyle Miller-the medium-paced duo who would swing the new balllike a hammock particularly in the late afternoon, tor-menting opposing batsmen with ball and banter.

A BGCC clubmate of mine named Brian Patoir, an excep-tional leg-break googly bowler who represented British

Guiana in the 50’s,affectionately – butperhaps with atouch of envy -referred to the DCCCase Cup team as -ten hooligans and aslugger - the sluggerbeing hard-hittinglefthander Lloyd.This was a hard-nosed team withattitude not arro-gance.

The club’s goldenera would havespanned the 50’s

and 60’s when they were the toast of the town andarguably the most successful team in senior cup cricketled by an astute, inspirational captain named FrederickRudolph Wills. He was a gifted Guyana Scholar and attor-ney who returned from England to practice law in 1957and was as dynamic as a tactician and leader of DCC as hewas a criminal lawyer. Under Wills the team played withparticular pride and passion.

The founding fathers of DCC are long gone and the com-plexion of the organization has changed from the turn ofthe 20th century to properly reflect the society. Now it isimperative that the President of the club Albert Mentoreand his executive, and the inheritors of the 21st centurylike Chris Barnwell, the Christian brothers, GajanandSingh, Travis Dowling and company, maintain its ideals ofintegrity and fair play and its tradition of excellence as theinnings continues. And even in this age of dizzying tech-nological development, they must extol the virtues ofsports and simple club life, as well as the importance ofclub cricket as a right of passage, and continue to spreadthe gospel of discipline to the incoming family of youngmen and women.

DEMERARACRICKET CLUB100 NOT OUT

AN ENDURING SYMBOL OF DISCIPLINE,

DETERMINATION AND DEDICATION

CRICKET IN GUYANA

Cosmo Hamilton

22


Since the mid-1960’s, immigrants from the EnglishCaribbean have been among the largest numbers of for-eign-born residents in North America, where a demo-graphic transformation in major social institutions hasoccurred. For example, school-age children from theregion represent one of the most rapidly growing singleimmigrant groups, particularly in cities such as New York,Miami, Atlanta and Toronto, expanding the public schoolstudent population.

Upon entering a different educational setting, theseyouths transpose their own values, expectations andneeds as they attempt to deal with an unfamiliar environment,defined by issues related to learning, teaching and mentalhealth. Coming from societies in which the education sys-tem has fluctuated in standards, students and parents areoften confronted by the demands of an educationalmilieu to which they are expected to adapt quickly.Invariably, they become vulnerable to acculturative stressthese demands may produce.

Recently, Bayney Karran, Guyana’s Ambassador toWashington alluded to the potential of cultural and charitableorganizations - i.e. Hometown Associations – HTAs - incontributing to Guyana’s economic development.However, these organizations, which have increasedexponentially, can also play a significant role in providing

critical academic supportand sustaining a culturalidentity, especially for third-generation immigrant children.The Guyana CulturalAssociation of New Yorkhas initiated that rolethrough its CaribbeanHeritage Summer Campprogram. It would be cred-itable for other viableHometown Associations tofollow this lead.

Newcomers to the UnitedStates, particularly childrenand adolescents who wereborn and raised in theCaribbean, rely on both thefamily network and theschool system as primary

sources of guidance, inspiration and support in theirattempt to achieve academic success and become well-adjusted adults. Newly arrived families and host relativesoften struggle to stymie the risks of resettlement and pro-mote opportunities for successful adaptation. At the sametime, immigrant children are faced with the often under-rated task of familiarization with the school structure andambivalent responses by teachers and other practitioners.Herein lies an opportunity and challenge for HTAs, asstakeholders in the community, to intervene.

Although many Caribbean students do well academically,concerns include placement in a grade level lower thantheir academic capability, referral to Special Education orESL (English as second Language) classes, and becomingsubjected to ridicule by non-Caribbean peers. Underthese circumstances, some students face the task of reor-ganizing their mental processes and behavioral patternsto cope.

Based on the ‘give back’ philosophy of HTAs, virtually allresources generated from fundraising activities areintended to assist institutions in the home country in theform of material needs and scholarships. Indeed anadmirable act of humanitarianism. However, in additionto the contributions to homeland reconstruction, there isdire need for an increase in support for the educationaland cultural development of students in the Diaspora.Not only would this augur well for both immigrant andhost communities, but it is a worthwhile investment anda prerequisite for corporate sponsorship of events. Theproverbial question may be asked: What does your organi-zation do for the local community?

The answer is two-fold. First, the work of HTAs can beinstrumental in countering the perception by educatorswho view newcomers as a population presenting newproblems, rather than a source of rich cultural diversityfor the school system and the society at large. Secondly,more collaboration among organizations in helping toeffectively address the adjustment issues, as it guaranteescommunity empowerment and the more predictablefuture of our children.

HOMETOWN ASSOCIATIONS

What does yourorganization do forthe local community?

Lear Matthews

SUPPORT FOR CARIBBEAN IMMIGRANT STUDENTS:



23FOLK FESTIVAL 2012: “MASQUERADE LIVES”

GCA MAKING WAVES ON THE RADIO

LIVESUNDAY AT

4.00 P.M.

Weekly RADIO Program

One Caribbean Radio Power105.1 HD2

Bookmark ourwebsite

Streaming live at www.onecaribbeanradio.com

Hugh Hamilton Claud Leandro Margaret Lawrence

Ron Bobb-SempleMondale Smith Joslyn Small

GUYANA CULTURAL ASSOCIATION OF NEW YORK, INC.

www.guyfolkfest.org

Fea

ture

s

ShowcaseGu

yan

ese

Tale

nt

Per

form

ing

Art

ists

Drama

��

Music

Act

ors

Art

Sto

ryte

llers

Cu

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lHis

tory

24

The Caribbean sugar estate, where sugar-cane is grown and processed, is a societywithin a society. Cricket was an important

part of life on the estates. Dudley Charles’ failureto ‘get pick’ for his primary school cricket teammeant he had to stay in school on Fridays for artclass. Mad as hell, he put his anger into his draw-ing. The competition he missed from cricket hefound in a rival ‘draw man’ and slowly, he beganto like the pastime he once saw as ‘sissy stuff’.Today Dudley wields his brush with the force ofViv Richards and the delicacy of Rohan Kanhai.

Dudley’s father, an estate employee at La Bonne

Intention (LBI),showed his son’swork to GloriaD’Ornellas. Sheshowed it to thelate Donald Locke,internationallyrenownedGuyanese artistand instructor.With Locke’s guid-ance, Dudleyreceived access to

materials and was introduced to other artistsincluding Phillip Moore, creator of Guyana’s trib-ute to revolution, the 1763 Monument.

Dudley was drawn to artists like Rembrandt andGauguin, but understood that the greatness ofEuropean masters lay partly in their pursuit oftheir own realities. Many Guyanese artists, FrankBowling, for example, have identified with Dutchmasters. Bowling sees the similar physical struc-ture of Dutch and Guyanese landscapes, with thecanals and flat, low coast, as possible reason forthis kinship. Although he felt an affinity with thework of Dutchman Piet Mondrian, Bowlingfound his own reality. Dudley, too, found his ownreality.

The differences in Guyana’s history and land-scape separate Dudley from his European influ-ences. He describes his own work as, “an expres-sion of events and images encountered in mylife, reflecting the multicultural, multiracial soci-ety of Guyana and the Caribbean. The dominantinfluence of these images, myths, and folkloricfigures I paint, is African. I draw from the spiritsof repressed ancestral memories. I evoke a magi-cal landscape leading the viewer into the spiritworld, a world wherein we meet the ancestors.”

In the Guyana of the mid 1960’s, Phillip Moorelectured on Guyanese mythology to all whowould listen. He spoke of Caribbean truths andAfrican culture that was legitimate as any. Dudleyused this framework for an extensive and grow-ing body of work.

continued on page 26



DudleyCharles

© By Clairmont Chung

GUYANESE MASTER PAINTER


25

He describes his own work as,“an expressionof events and images encountered in mylife, reflecting the multicultural, multiracialsociety of Guyana and the Caribbean. Thedominant influence of these images,myths, and folkloric figures I paint, isAfrican. I draw from the spirits ofrepressed ancestral memories. I evoke amagical landscape leading the viewer intothe spirit world, a world wherein we meetthe ancestors.”

Dudley Charles stands between two new workson paper made summer 2011, in studio spaceprovided by Guyanese collector, TimothyGriffithPhotographs by Carl E. Hazlewood

26FOLK FESTIVAL 2012: “MASQUERADE LIVES”


‘Old time’ stories of the ‘Mascacuraman’, ‘Jumbie’,’Mermaid’, ’Old Higue’, ‘Baccoo’, and others provided arich backdrop of never ending possibilities and interpreta-tions. Dudley delved further into this consciousness forhis 1972 series, “Images of Old House”. There he used the‘Jumbie’ theme and experimented with lines and shadow.Ever since, his work has played with light, shadow, color,lines, perspective, and things unknown to communicateideas not yet conceived. Dudley says, ”I have created a“jungle” in my subconscious mind; it is filled with stories Igot from listening to old people talk about the spirit. Thespirit dwells in trees, dwells in houses…”

These ideas have evolved over the years as Dudley movedto the US and continued to exhibit all over the world insolo and group shows. His first ‘official’ exhibition was in1968 at the John F. Kennedy Library, Georgetown, Guyana.Since then his work has been seen in Venezuela, Japan,Nigeria, and Great Britain. Important exhibitions such asthe XII Sao Paulo Bienal, Brazil have featured his paint-ings. And recently, he exhibited with the Guyana CulturalAssociation sponsored, Contemporary Expressions - ArtFrom The Guyana Diaspora, at Five Myles gallery, inBrooklyn, NY (August 2011). His abstract painting wasalso the cover image of the massive catalogue for CAR-RIBEAN VISIONS, the groundbreaking exhibition that trav-elled to several museums around the US.

Despite his extensive production and partly due to hisnatural modesty and restraint, Dudley Charles remainssomewhat in the shadow of other ‘notables’ of Guyaneseand Caribbean art. Names like Phillip Moore, AubreyWilliams and Denis Williams continue to feature promi-nently in publications even after their deaths. ButDudley’s continuing growth and visual achievement cer-tainly assures him a permanent place among the very bestartists the Caribbean has ever produced. His latest large-scaled work will be on display late this Winter, as part of,TIMEHRI TRANSITIONS: EXPANDING CONCEPTS INGUYANA ART slated to open January 20, 2013, at WILMERJENNINGS GALLERY, Kenkeleba House, New York City.

DudleyCharles

from page 24 © By Clairmont Chung

Dudley Charles' "Throop Venus #3",60" x 42" is a large drawing from aseries featuring women from theBrooklyn neighborhood where theartist was working at the time.

27


“When the Anything Guyanese Facebook pagewas created in November 2011, my vision wassimply to have a community, where Guyaneseof all ethnicity would have a place to commu-nicate. Notably, I wanted to give Guyanese aforum to share relevant information aboutGuyana,without the politics. I knew there wasa need for such a forum and expected thepage to garner much support. But, I did notexpect the outpouring of support for the pageand the huge influx of membership in such ashort period of time. “

Lloyd Phillips, Founder

Anything Guyanese is dedicated to enhancing thelives of our fellow Guyanese by harnessing interest,pride and enthusiasm in achieving success throughinteraction of our group, ubiquitiously.

Our mission is to bring educational, cultural, busi-ness as well as financial benefit to our homeland byestablishing a foundation of support to ensure abrighter and more productive Guyana and commu-nity.

The group intends to align with kindred organiza-tions to recognize the potential of future leaderswho seek to improve the quality of life in theGuyanese Diaspora, through its online platform ofcurrent members, who are Guyanese nationals anddescendants, of at home and abroad.

AG CONFESSIONS”

Allison S If not for my recent month long sched-ule of 12 hour 6 day shifts I would not havetamed my AG fix... I even popped in while overseason vacation; I check in on my phone, my laptop,my kindle or my tablet and have my husband justas hooked relaying the stories, music, recipes anddisagreements....

Jacqueline L N I got to work late today I toldthem I am addicted to AG .lmao

June N So true...can!t stay away fr AG even my lastson who is 22yrs says to me " mom you sill onFaceBook and that I need to get off".......lol how therole has turned.....

Hubert L �...Look.. I gat one confession...let me getit out and be free. While ah working, AG does beopened and reduced at the bottom of my computer,so every 10, 15 mins, I check in to see de posts andrespond if ah feel like, so i always de bout. Ah sarryman, ah sarry bad, but right now ah cyan help it...

Sharon H Herbert L, you are too funny. Even me inmy Teacher's Assistant classroom. The is professor islecturing and I have my iPod on AG wall scrolling upand down to see what I have missed. OMG, I dontknow when I get marry how AG and the man goneget along?!?!

Carlton P: A well jenny this my confession, i loveu guys, here i get my good guyanese graff, tell it gtway, so a day with out you guys is a day with out funandpulling you guys legs and causing trouble

FACEBOOK GROUP:

ANYTHINGGUYANESE

GCA COLLABORATING WITH DIASPORA ORGANIZATION

Mission: To recognize the potential of future leaders who seek to

improve the quality of life in the Guyanese Diaspora, through its

online platform of current members, who are Guyanese nationals

and descendants, at home and abroad.Lloyd Phillips, Founder


JOIN USFOR THE FINAL EVENTSOF THE 2012 GUYANAFOLK FESTIVAL SEASON

WEDNESDAY, AUGUST 29, 2012AWARDS CEREMONY (BY INVITATION ONLY)

FRIDAY, AUGUST 31, 2012 KWE KWE NITE

SUNDAY, SEPTEMBER 2, 2012FAMILY FUN DAY - NEW VENUE!

28



FOLK FESTIVAL KWE KWE NITECOME SHOW MEHYUH SCIENCE!

SCIENCE YUH SCIENCE!FRIDAY, AUGUST 31, 2012

8.00 P.M.-1.00 A.M.ST. STEPHEN’S CHURCH AUDITORIUM

2806 NEWKIRK AVENUE &E28 ST.BROOKLYN, NY 11226

We guh have a fine time all nite!

29

30



��

�� PROSPECT HEIGHTS SCHOOL CAMPUS

883 CLASSON AVENUE (BET. UNION & PRESIDENT) BROOKLYN, NY 11225OPPOSITE THE BROOKLYN MUSEUM

SUNDAY, SEPTEMBER 2, 2012TRANSPORTATION: SUBWAY: 2, 3, 4, 5, F, S to Botanic Garden ; B, Q to Prospect ParkBUS: B16, B41, B43, B45, B49, B69

GUYANA FOLK FESTIVAL IS THE PLACE TO BE IF YOU WANT TO:• FOOD • MUSIC • ART • DANCE • CRAFT • SPOKEN WORD • GAMES• EAT CHIP SUGAR CAKE & BHALAMLATCHA• LISTEN TO NANCY ‘TORY• LARN HOW DIG DUTTY MEK CHUTNEY• SING BOUT AUNTY BESS• BUY GUYANESE ARTS & CRAFT• WATCH KIDS DANCE MAYPOLE & SING FOLK SONGS• DANCE KWE KWE

CELEBRATE GUYANESE FOLK GAMES• JUMBIE LEF HE PIPE HEY• HOT BREAD-N-BUTTER• SALL PASS

11.00 A.M. - 8.00 P.M.



MAYPOLEPLAITING

31

Pretty little butterfly what you do all dayRun about at Sunday school nothing do but play, Nothing do but play meh da’ling nothing do but play Fly butterfly, fly butterfly don't waste your time all day.

THE MAYQUEEN ANDHER COURT"Away to the green anddance the Maypole"

ST. ALBANS EPISCOPAL CHURCHMAYPOLE GROUP ON SHOWEstablished in 2000, dancers are aged five through sixteenand are drawn from community youth from Guyana and theCaribbean.Teachers Clare Sandiford, Floretta Rose, Judith Paddy andWinifred Reynolds take them through their paces.

DIAMOND, SPIDER WEBB,WATER WEAVE,CART WHEEL, BARBER’S BRAID

BRING YOUR KIDS OUT ON FAMILY DAY

TO ENJOY THE PLAITINGOF THE MAYPOLE

30


GUYANA’S CLASSIQUEDANCE COMPANY

RETURNS TO NY FORFOLKFEST FAMILY DAY

MAIN STAGE PERFORMANCE

32


33STUNNING COSTUMES,INTRICATE DANCE MOVEMENTS

CLASSIQUE BRINGS PASSION AND FREE SPIRITEDMOVEMENTS TO THE FOLK FESTIVAL MAIN STAGE INTHEIR CELEBRATION OF THE GUYANESE TRADITIONAL MASQUERADE DANCE STEPS ALONG WITH OTHER

CONTEMPORARY DANCE FORMS IN THEIR ARTISTIC PRESENTATIONS

SEE THEM ON THE MAIN STAGE AT FOLK FESTIVAL FAMILY DAY

34




35FOLK FESTIVAL 2012

Masquerade Lives!Exciting Family Day Masquerade Explosion!

LEARN INTRICATEMASQUERADE STEPS

• Donkey Parade• Breast Plate

• The Pick-upLEARN FROM THE BEST

MASQUERADERS IN GUYANA

COME PREPARED TO FLOUNCE!

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