Full public disclosure is needed in accounting for CARIFESTA X expenditure

Sep 17, 2008 Letters

DEAR EDITOR,
I have seen a thoroughly scurrilous letter in Kaieteur News of 13th September purported to have been written by Ray Watts, described as a “Volunteer from USA for CARIFESTA X”. This letter could only have been written by one or more of the persons in charge of CARIFESTA X.

The letter was prompted by a letter written by my husband, Kit, who, I believe, quite properly called for a public accounting of the contractual arrangements entered into by the CARIFESTA Secretariat for the supply of critical equipment essential for the production of the opening and closing ceremonies of the festival.

Instead of responding to Kit’s appeal for public disclosure by the Artistic Director and the CEO, the letter attacks me personally and sets out to make me the scapegoat for the production failures of the ceremony.

The letter was correct. After I declined the invitation from the Minister of Culture, Youth and Sport to serve as Chief Executive Officer, my husband did, on more than one occasion, try to persuade me against taking the job as Production Manager. I regret now that I did.

The letter is also correct in stating that “a Production Manager is the person responsible for the entire show”. However, I was never allowed those responsibilities. Those in charge kept all of the contractual arrangements for supplying the equipment for the opening and closing ceremonies very much to themselves. I was not allowed the authority normally assigned to the Production Manager. I was not even consulted on these matters. I was aware, unofficially, that huge sums were being expended that need not have been.

When I confided this to my husband and told him we were heading for trouble, with none of the essential equipment for sound and light available for rehearsals, and even costumes not ready, he urged me to immediately resign.

He warned me that I would be made a scapegoat.
In fact, my authority was confined to stage management on the day of the opening ceremony. Even in this regard, the Artistic Director intruded. The programme for the closing ceremony lists me as one of the stage managers.

I find it incredulous that I should be attacked for having approached the Ministry of Culture, Youth & Sport to partner me in the publication of “Guyana Where & What”. This pocket book visitors’ guide was supported entirely by advertising and is distributed free of cost.

The Guyana Tourism Authority made good use of it for CARIFESTA. It is available at the airport and at every hotel and tourist destination in Guyana. Even the Office of the President sent for copies. My proposal to the ministry was to help finance an increase of the planned print run to ensure maximum distribution and availability for major holiday seasons and until May 2009.

Beyond the opening and closing ceremonies, where I did have control, I successfully managed three other CARIFESTA productions: Legend of the Silk Cotton Tree, Pluft, and Shattered Hopes & Dreams.

I remained on the job with the Secretariat because I felt that, in spite of everything, I could at least help avoid what might easily have been a complete breakdown of the opening ceremony production. It appears that my dedication to theatre and to our country’s national reputation being protected may have been misplaced.

Clearly, highly questionable contracts were entered into with regard to the production of the opening and closing ceremonies, and clearly these ceremonies suffered from the absence of professional lighting and sound being delivered. My husband Kit has appealed for full public disclosure. I join him in that appeal.

Gem Madhoo-Nascimento

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Full public disclosure is needed in accounting for CARIFESTA X expenditure

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