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Update on Theatre Guild reconstruction in Guyana Posted November 17, 2007. Thanks to Len Corsbie for writing to let us know about the latest on this project - 'Thanks to Henry for the huge help in arranging with Dr Finelli for Jim Wilson's visit. Jim, a professional Lights and Sound Technician working in the University of South Florida, spent three full days detailing the project, took lots of pics, made measurements and will report to Dr Finelli, who in turn will give us his take on what equipment we should buy, possible vendors and training workshops to install and use. This they are doing gratis and we are extremely grateful. Whilst here, he met with the Minister of Culture, Youth and Sport, who asked for help in preparing the National Cultural Centre and the National Cricket stadium for Carifesta events. Bert Carter is doing an incredible job, also gratis, as engineer and construction project manager. He has now undertaken to virtually rebuild the annex, with a brand new roof already in place and all questionable wood removed, ready for a donated replacement. The materials for the outer walls of the Playhouse have been chosen and procurement has begun. Jim Wilson also advised on the correct acoustic materials for the inner walls in consideration with the need to air condition. Lighting trusses have been designed. The stage apron will be modular in 8'x4' sections on steel or aluminium frames, allowing for it to be reshaped at will.' len ________________________________________________ 'Noh Lickle Twang!': Conference to Honour the Legacy of Louise Bennett-Coverley A multidisciplinary conference on the theme ' Noh Lickle Twang!' - Louise Bennett-Coverley, The Legend and the Legacy', will take place at the University of the West Indies, Mona, Jamaica, from January 9-12, 2008. The conference, jointly hosted by the Department of Literatures in English, the Department of Language, Linguistics and Philosophy, the Institute of Caribbean Studies, the Philip Sherlock Centre for the Creative Arts and the West Indian Association of Commonwealth Literature and Language Studies, honours the legacy of Miss Lou, iconic Caribbean writer and performer, through plenary sessions, academic panels, round-table discussions and performances. Members of the campus community are invited to submit panel proposals and paper abstracts which may focus on, but are not limited to, the following topics: - Louise Bennett and the Theatre - Louise Bennett, Folklorist - The Poetry of Miss Lou - Miss Lou and Mass Media - Miss Lou and Popular Culture - Louise Bennett and the Politics of Language - Comic Pedagogies: Miss Lou and Education - Dub, Dancehall and Satire: Louise Bennett and Popular Music - Entity, Nation and Language - The Changing Place of Creole Languages in Caribbean Society - Creole Orthographies - 'That Cunny Jamma Ooman': Gender Politics in the Caribbean - Caribbean Comedy and the Politics of Decolonization - Mask and Masquerade: Louise Bennett and the critique of Culture - Poetry, Orality and Performance: Changing Currents in Caribbean Practical Criticism - 'Colonization in Reverse': Language, Culture and the Caribbean diaspora - Poetics of Relation: Language, Creolization and Globality Panel Proposals (400 words) and Paper Abstracts (approximately 200 words), along with a brief C.V. of the presenter(s), should be submitted to the following address no later than November 19, 2007 Email: liteng@uwimona.edu.jm, carol.pinnock@gmail.com, or mary.gray@uwimona.edu.jm For further information, phone (876)927-2217; Fax (876) 970-4232. ________________________________________________ Caribbean film shorts on YouTube Thanks to Errol Brewster for these links to some of his film shorts on Carifesta - To find Carifesta Is Ah Big Ting go to: http://www.youtube.com/watch?v=eMpch97EaKQ To find Carifesta Fusion go to: http://www.youtube.com/watch?v=s2GtGemizCc To find “Dolly House Biznis”: Carifesta Issues – A Generation Later go to: http://www.youtube.com/watch?v=frMXakdu1iY To find Carifesta Spectacular go to: http://www.youtube.com/watch?v=3Qj5T1ymRPc ________________________________________________ D. Kochore on Carifesta This one is for those of you who tryin hard to remembuh what the first Carifesta in Guyana was like, even as we debate and discuss and plan for the 2008 festival, once again to be held in Guyana. D. Kochore has a unique way of recounting some of those memories ... your comments welcome at admin@caribarts.org. "Not ah nasal nerve never even so much as moved. Tell yuh wat eye mean! Sparks flew in the twilight as clashing cold steal swished by your air. It was the Brazilians in a battle dance with dangerously sharp metal clanging in your ear…their opponents, with the most masterful timing, just barely eluding execution. Their air splitting performance at the 1st CARIFESTA was a tremendous hit with their Guyanese audience. If you can remember where this transpired you cud win a chance to ‘ear the Brazilian show frum outside wen they return for the X Festival in 2008. ************************************** The Haitian Voodoo Initiation ceremony, its practice of circumcision and other sacred and ancient customs brought from Dahomey, and long regarded in the Western present as the very embodiment of evil, took centre stage at CARIFESTA'72. With awesome drummmmmming dominating the music the Haitians mesmerized their Guyanese audiences. The Director of the Said Institute, L__i__a W__l_a_s, explained to her audience that the practice of Voodoo was really an understanding of the forces which control man and all his activities, and stressed the importance of the drum to all aspects of Haitian life, especially the processes of healing. The performance included four Haitian festival dances, African dances, the ball of the freed man, maypole ribbon dance, and a dance of welcome. It wuz L__i__a W__l_a_s, however, who wound up being most welcome. She wuz fuh remain in Guyana for many years thereafter giving shape to the newly formed National School of Dance, as its first Director. And out of this school was formed The National Dance Company of Guyana. She stayed so long in Guyana it became her home. Name the Director and win ah spell dat cud mek yuh rich in yams…fowl tuh – ah white won! ******************************************* Deafening, prolonged applause, from the capacity audience (hundreds more were denied entry) met the Jamaica National Dance Theatre's highly professional presentation of their rich folklore, African heritage, humour and cosmopolitan complexion. Under the direction of R_x N_ttl_for_, the group's combination of African dance rhythms and classical ballet in a distinctly Caribbean choreographic style left audiences in an aesthetic euphoria never before experienced in Guyana. Their discipline and dedication strengthened the aspirations of the Guyanese and set, clearly, the new goals to be attained. The Jamaicans left taking with them the strongly communicated impressions of the gratitude of the Guyanese people. Name the Director of this performance and win a free trip to Jamaica’s booth for a whiff of Ackee & Salt-fish. ***************************************** Betrayal of slave plans to rebel by other slaves in the Caribbean was a common occurrence. Prince Klass, a legendary Antiguan hero who refused to submit to the horror that was slavery and fermented rebellion against the authorities, was the focus of the Antiguan play presented at CARIFESTA1. The plans were foiled and Klass and his rebels were captured, tortured and executed. Being a familiar occurrence to Guyanese and other Caribbean people, the play "Legend of Prince Klass" was well received by its audience at the Ursaline Convent. Name one slave rebellion that predates the 1763 uprising and win a ten hour conversation with Philip Moore. Duh Man does talk lang, lang! ******************************************** Lights ablaze an’ language in another phase these festival days! Is pure action - the antics of the Bajans and the Cubans brought the biggest cheer from the mammoth crowd of over ten thousand gathered in North Georgetown, for the exciting, open-air ceremony to declare open the first CARIFESTA. At one stage in the ceremony the CARIFESTA logo – a brown hand courageously grasping the sun was raised over the colourful scene. Di Olympics logo doan change, di question now to be raised is why does di CARIFESTA logo? Answer duh an’ win a Ex-plea-Nation from Caricom Culture big ups. ********************************************** Using refreshingly experimental techniques and with positively jolting language that included four letter words, the director of the Barbadian drama contribution to CARIFESTA '72 -'Unchained' set off a firestorm of controversy. Newspaper columnists in Barbados questioned the prerogative of the arts to endorse the use of curse words on stage. It was, of course, recognised that hearing such words in the public was commonplace, and not only in Barbados but even in England. It was nonetheless asked in big bold letters screaming out of the newspapers "Who Is Cleaning up This Stage?" The Guyanese audience were thoroughly enthralled and completely caught up in the humour and CARIFESTA'72 was said to be the midwife that helped birth a brave Bajan experiment merging the talents of poets, actors and musicians in a way that made Barbados and the Caribbean all the richer. Some of the people concerned in this production were David Mettee, and Daphne Joseph-Hackett, Anthony Hinkson plus Earl Warner, Margaret Gill along wid Robert Morris, Ben Craig an' nearly ah whole half of di Hoyos tribe - Patrick, Tony, Joseph, Alan, Henry, Percy, plus Lionel Warner an’ some others an’ some udders. Anybody know if Earl is cousin to lionel, and if dey was cussin’ tuh? Yuh cud win something, cousin! ************************************** Not a sound was heard from the audience! Never before had such been seen! People we knew only as Bush Negroes from deep in the forest in neighboring Suriname exhibited a taste of the awesome powers of their ancestors and of the Indigenous people of the South America whom they encountered in their escape from their Dutch tormentors. The Djukas performed their dance on fire and broke bottles, trampling the jagged edges of the broken bottles with their bare feet, right before the eyes of their audience at the 1st CARIFESTA. Name an area in Suriname from whence these people came and win a chance to practice this dance with them! ****************************************** Often it is only the art forms inherited from the oppressive colonial masters that third world artists have to rely on to express nationalistic or even revolutionary concerns. And so it was that the Cubans presented an Afro-Latin Operetta at CARIFESTA - Guyana '72. Forty male and female dancers staged a three part presentation in the Spanish language featuring the fury of revolting slaves, the anguish of leadership squabbles and one other. The spectacular put on by the Conjunto Folklorico National de Cuba and the Aragon Orchestra was wildly applauded. Guess what the third part was an’ win a hug from the Cuban leader who will for one whole half minute of silence, on the opening night of their performance, be standing with outstretched arms protruding from behind the drawn stage curtains. He is expected to be in full military uniform, but this can’t be confirmed. ************************************ Prime Minister Burnham declared at the opening of the CARIFESTA'72 conference of authors and artists at the University of Guyana, that he would seek to interest other heads of Government in proposals being made by writers and artists. He said that Guyana would take the initiative at a regional heads of Government conference to urge a concerted Caribbean approach to cultural development. This has resulted in nine editions of the festival held in five other Caribbean territories over the last thirty five years. In Guyana itself during this period, high unemployment, double digit inflation, prohibitive fuel costs, boycotts and demonstrations loomed large. They were met with increased spending on the military by many, many fold - the ratio of military person to civilian rising from 1 for every 284 in 1964 to 1 for every 37 by 1976. The "Caribbeanising of our artists" that the P.M. spoke so eloquently of took back seat. The development of the institutions to perform those tasks floundered in the face of stringent ideological differences fueled by ethnic politics and under funding. Guess at what will result this time around, and if you’re right you’ll win a US visitors’ Visa, and we’ll guess if you’ll come back. The final winner will receive a US Permanent Residency Visa! ************************************* The Quavers Quartet held their own with spirituals and Barbadian folk songs before an audience which responded well to them and to the readings in the Bajan dialect by the Parliamentary Secretary in the Ministry of Education, Youth Affairs, Sport and Community Development, Mr Alfred Pragnell. Name one P.S. in Guyana who cud hold their own on stage and win Min. of Culture T-shirt wid ah picture of Keith Booker playing the keyboards on it." ________________________________________________ Guyana's Theatre Guild launches appeal for The Playhouse Project The Theatre Guild of Guyana is a voluntary Not For Profit organisation dedicated to promoting high quality Speech and Drama activities across the country with the vision of providing Guyanese playwrights, actors and technical personnel with the best environment possible for practicing their art and skills. ‘TG’ has suffered neglect and has not functioned as a true theatre group for many years. With the emigration and passing of most of its founding members, the Playhouse building fell into disrepair and with but a few exceptions, its membership of over 600 dissolved away to just a handful. These few valiantly tried to maintain some level of activities, but inevitably the workshops and productions ceased. However, what is clear from the clamour coming from many sections of society, is that the time is right to revive TG and to bring it up to date with the needs of the community. TG’s management committee is responsible for the resuscitation of working production activities and the expansion of the membership. The Government of Guyana, through the Ministry of Youth, Sport and Culture, has endorsed the project and seeded a workshop intended to attract young people and culminate in an initial stage production. TG will approach Government for additional support that still allows TG to retain its full independence. The Playhouse in Kingston, Georgetown is the home of the Theatre Guild. It was built in 1961 and remains the first intimate theatre of its kind in the Caribbean. Its place in history is overshadowed by its need for revision and repairs. A group of former members, who call themselves the Theatre Advisory Group and who now live outside of Guyana, has agreed to act as the nucleus of a technical advisory body and to initiate fund-raising activities in their respective countries. Included in TAG are: Clairmonte Taitt, Ken Corsbie, Len Corsbie, Michael Gilkes, Aileen and Frank Thomasson, Henry Muttoo, Dave Martins, Eugene Williams and Elsie Yong. Already TAG has acted to advise on the redesign of the Playhouse and is represented on the management committee. A project has been launched with a contribution of $4M by the Guyana Telephone & Telegraph Company to fix a number of areas and to redesign some others. First: The site is below the level of the main road and when it rains, water floods the lower areas of the building. This will be fixed by raising the driveway and casting a broad polder around the building to prevent any water entering. An initial US$10,000 for this component has been donated by the Guyanese Association of Barbados Inc. But another US$10,000 is needed. Second: It was decided to increase the seating capacity from 250 to 325 by replacing the original auditorium with a new double decker steel building. The original foyer, toilets and dressing rooms will be extended. All new electrical wiring and plumbing will be added. This phase needs US$37,500. Third: The entire roof has to be replaced and siding attached to the windward face to protect it from the weather. The building has to be painted etc. Donations of roofing sheets have been received from the Gafoor Group of Companies and paint has been pledged by Continental Agencies Ltd. Fourth: All new theatre lights and sound equipment is needed. TG has approached the Japanese Government for assistance. Total cost about US$20,000. Fifth: Extensive repairs and installations are needed to the Annex, which houses the office, library, rehearsal rooms and caretaker’s lodge. TG needs to raise US$20,000 for this phase. Sixth: The purchase or acquisition of a sewing machine, workbench, furniture, computer, tools, makeup kits and so on. No estimate is available for these; donations in kind would be welcome. To register as a strategic fund-raising partner or to make your contribution to this effort, send an Email to Mr. David deCaires, Chairman of the Board of Trustees, at ddcguy@hotmail.com ________________________________________________ Future Image, the producer of the latest Caribbean feature film to be shot entirely in Barbados, is calling for auditions for the cast of the film 'Waiting For Keith'. Aspiring actors and actresses may submit a request for an audition to the producer at this email address: waitingforkeith@gmail.com. Applications should include the applicant's name, age, gender and should list any previous experience in film or stage productions although experience, though an asset, is not absolutely necessary. Both male and female adult and child actors are required. Applicants will be notified by return email of the date, time and place of the auditions. The producer is also seeking persons to work on the production crew of the movie. Wayne Cezair for the Producer Waiting For Keith ________________________________________________ Arturo Tappin's latest CD - 'Inside Out' - was launched in New York recently. It's on sale in music stores. _________________________________________________ From Geoffrey Philp in Florida - Greetings! This Friday (7/13/07) I will be posting a very important interview/podcast with Kamau on my blog @ http://geoffreyphilp.blogspot.com Kamau Brathwaite in this interview speaks with Rod Semple on harambeeradio.com about his struggle at Cow Pastor, 'Born to Slow Horses', and his ceremonial re-naming in Kenya. Blessings, Geoffrey _________________________________________________ THE CROPPER FOUNDATION and the UWI St. Augustine Centre for Creative & Festival Arts Press Release – August 2007 Residential Workshop for Caribbean Writers The 5th Caribbean Creative Writers’ Residential Workshop sponsored by The Cropper Foundation, and organised in partnership with the Centre for Creative and Festival Arts, University of the West Indies, St Augustine, will take place from June 30th to July 31st 2008 in Trinidad and Tobago. The 2008 Workshop will focus on fiction, playwriting and poetry. Support for Caribbean Writing is an ongoing programme of The Cropper Foundation that seeks to contribute to the development of the Caribbean on many levels and in different areas of interest. The writers' workshop is part of the Foundation's effort to encourage new Caribbean literary voices by providing practical advice on the craft of writing, as well as offering advice on related matters such as publishing opportunities. Writers from Antigua, Bahamas, Barbados, Belize, British Virgin Islands, Commonwealth of Dominica, Guyana, Jamaica, Trinidad and Tobago, and the Caribbean Diaspora (Canada, USA, France, and UK) have competed to take part in these workshops held so far in Grand Riviere on the eastern end of Trinidad's north coast, on Gasparee Island off Trinidad’s northwest peninsula, and in Tobago. From the participants of this workshop series, Lelawattee Manoo-Rahming (Bahamas) and Lenworth Burke (Jamaica) went on to win the Commonwealth Short Story Competition and the Jamaica Observer's Annual Fiction Award respectively; Ruel Johnson (Guyana) has won the Guyana Literature Prize 2003, Krishna Ramsumair (T&T) has published a number of short stories in local and international journals, and Robert Clarke (T&T) received a Trinidad Guardian Writer of the Month award, as well as an EMA 2003 Green Leaf Award for journalism. For this year's Workshop, a maximum of fifteen participants will be selected from entries only from the Caribbean. The moderators will be novelist Dr. Merle Hodge (Crick, Crack Monkey and For the Life of Laetitia) and poet and short story writer Professor Funso Aiyejina, winner of the 2000 Commonwealth Writers Prize (Africa) for The Legend of the Rockhills and Other Stories. They are both lecturers at UWI, St Augustine, in the Faculty of Humanities and Education. Participants will engage with published authors and professionals from the publishing industry, as well as speakers from a variety of other disciplines including history, culture and political science. Participants from this workshop may be nominated to attend a further retreat – all expenses covered - at the Vermont Studio Center in the USA. Applicants, twenty years old and above, are invited to submit application forms and samples of their writing (five pages only) no later than November 15th 2007 to the following address: Writers Workshop, Centre for Creative & Festival Arts, The University of the West Indies, St. Augustine, Trinidad & Tobago. Works of prose fiction, playwriting or poetry, either published or unpublished, will be considered for this workshop. For application forms and further information, please call Dr. Dani Lyndersay or Ms. Marissa Brooks at the UWI Centre for Creative and Festival Arts, telephone: (868) 662-2002 (ext. 3539); fax: (868) 663-2222 (ask for fax tone); or email: dlyndersay@fhe.uwi.tt; or mbrooks@fhe.uwi.tt (Subject: 2007 Writers' workshop). |
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