THE ARTS FORUM

Jul 05, 2009 Features / Columnists, The Arts Forum

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THE ARTS FORUM is a platform that accommodates multiple voices and perspectives which throw light on our artistic and cultural legacies and deepen our understanding of our condition of survival and existence.

This week we present the continuation (the second of three parts) of Mr. Raphael Trotman’s Address ‘MUSINGS ON GUYANESE CULTURE & IDENTITY’ which was delivered at the Indian Cultural Centre on Saturday, March 28, 2009

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In schools, the average schoolgirl was made to learn the values and virtues of becoming a woman, but more essentially, a lady in the true Victorian sense. For boys, the values of truth and honour were the hallmarks by which all men, but moreover, all gentlemen, were measured. The Queen’s College boy was the quintessential boy by which all others were weighed and measured.
Somewhere between 1966 and today, 2009, I believe as a people we got lost. Simply put, if we can’t definitively settle the issue as to who is the true father of the nation either Cheddi or Burnham, then we are surely lost. Does it really have to be one or the other? Does it matter? Why can’t we hail them both as fathers and heroes of our nation?
It has become difficult to forge this identity because we have allowed ourselves to become unable and unwilling to acknowledge and recognise the hallmarks, and mileposts that were placed by our foreparents to guide us as we journeyed along the pathway towards political, cultural and economic independence. I am left to wonder what has become of the stirring words from our national song, Song of Guyana’s Children:
Onward, upward, may we ever go,
day by day in strength and beauty grow
till at length we each of us may show
what Guyana’s sons and daughters can be.

We were in the 1970’s told that the “small man is the real man” and it is my humble view and opinion that we drifted too far from our established landmarks. Somewhere along the way, the captaincy we expected was abandoned.
I have asked my relatives, friends and associates what a ’Guyanese identity’ signifies to them, and, of course, and not surprisingly, the answer was the same. My conclusion is that those of us with the responsibility of leadership have failed the youth of this generation. I say so because of the various perspectives put on the issue by diverse groups of men, women, and children.
My father, who considers himself very much Guyanese, opined that Guyanese identity has become blurred with the substantial exodus of Chinese and Portuguese. Did this disturb and distort that culture that was emerging, and has it changed it into something that even though unrecognizable, is yet a natural offspring of that era? In a sense, he believes, that we are not as whole and complete as we should be because of this exodus.

A much younger Guyanese states, “often with the trials and tribulations and struggles of daily life in Guyana, we are often oblivious of the fact that we as individuals are part of a unique cultural mix, that our unique cultural diversity is all around us, is running in our veins, is a vital part of our identity. It is sad to know that we are often not as appreciative of our culture as we should be and that we do not realize how important this is to us not only as individuals but collectively as a nation.”
Yet another profound point of view offered to me is: “I cannot think of any one action or behavioural pattern that the majority of Guyanese can be identified by. However, Guyanese probably have a reputation, or various labels, the only general description for which is not necessarily positive.”
My friend Clayton believes that Guyanese are losing their identity in their ethnic groupings even as they look for a sense of identity and belonging. Why for example, he asks, do we need a special act for our Amerindian brothers and sisters in Guyana? Do we not recognise and accept them as equal? He proffers, that what we should be promoting is our birthright and not our individuality.

Today the language is changing. In fact I have to say that it is sometimes difficult to recognize the language of Guyana to be English anymore and even when it is spoken it sounds alien. ‘Speaking properly’ is now a thing of the past. Admittedly, however I quite like to hear rich Creolese such as was the case recently when the people of a certain village in Corentyne said of a certain Minister of Government, “we na want am tal tal”. Despite my admiration for this linguistic expressiveness, I still say we must be careful that we do not one day completely surrender ourselves completely in its emotional and descriptive style.
Following up on McAndrew’s characteristics of Guyanese culture and identity, our rituals and folktales have given way to Oprah and Halloween, and our ring play games have become the iPod, the Xbox, and the Gameboy, whilst our folklore is tied to a Western enculturation process based on a different value systems and structure.

Do we in Guyana then have an identity? Is this identity identifiable enough and can it be considered part of the national patrimony and heritage? Is it under threat by our own actions and omissions, negligence, and ignorance, or even by internal and external forces determined to alter our way of life to closely resemble theirs?
Our motto tells us that we are “One People, One Nation, One Destiny” yet we have to ask whether we have done enough to realise and embrace this identity of oneness, or have we become too immersed in our quest for ethnic recognition?
Does a state have a duty to ensure that there is the promotion and protection of such a thing as a national identity? My answer to this question unhesitatingly, and unequivocally, is yes. I say unapologetically that successive governments of Guyana have failed to properly manage this sacred trust and responsibility to forge our national identity.
The task of preserving our culture and identity has been left largely to the people themselves, whether here in Guyana or in the Diaspora. In many respects therefore, this presentation is dedicated to those who almost single-handedly, and with little or no resources and support, persevered patriotically to ensure that whatever we as individuals have claimed as a Guyanese identity, remains an everlasting legacy for us all to be proud of.

Indeed it is the within the commingling, the sharing of foods and music, and wisdom garnered from each other’s proverbs and colloquialisms, and even dialects, where such a uniquely Guyanese culture and identity must be found and defined.
Even as we experience the daily melting pot within our nation’s markets; Bourda, Stabroek, Mon Repos, Rosehall, Golden Grove, Leonora, Mahaica, Parika, Charity, Rosignol, Linden, and Annandale, we acknowledge that they all highlight and contribute to our rich culture as it is being forged into a wholeness and oneness. The dialects, the colours, the interracial camaraderie, the foods, from cook-up to the Indian sweetmeat jilabee, Creole-styled fried fish, pepperpot and chowmein and potato balls and puri on sale among our fruits, vegetables, and ground provisions make for a veritable pot-pourri of Guyanese cultural identity.
Thankfully, our culture is represented through our music, our food, and our dances such as the Amerindian dances, our visual arts, and craft. Our wearable art as created by Liz Deane Hughes, Donna Ramsammy, Michelle Cole, Pat Coates, Andrea Braithwaite and Sharon Fraites, and Andrea McAdam to name a few. Their jewellery and clothing designs are famous throughout the region and have even been exhibited on the world stage.

The outstanding pieces of pottery of the Correia family are collectibles with the reproduction of Amerindian motifs, petroglyphs and drawings.
The works of Stanley Greaves, Ras Camo Williams, Dudley Charles and Bernadette Persaud have been exhibited worldwide.
The writings of Mittelholzer, Dabydeen, Wilson Harris and Pauline Melville are internationally recognised as they drew on their uniquely Guyanese culture and places to produce writings that have won international awards.
The works of playwrights and producers Dr Paloma Mohamed, Ron Robinson, Harold Bascombe and Prof. Ken Danns have been internationally staged and Francis Quamina Farrier, whose radio serial ‘The Tides of Susanburg’ helped form my own childhood interest in creative works. Contemporary playwrights keep the arts alive supported by well known actors such as Henry Rodney, Desiree Edghill-Adams and Neaz Subhan to name a few.
We have the poems of Martin Carter and Marc Matthews to be proud of. And we cannot forget the writings of the late Wordsworth McAndrew with his Ol Higue, or Mittleholzer’s My Bones and My Flute, which enthralled and traumatized thousands of children when aired on national radio. We cannot forget the indefatigable work of Roopnandan Singh (father of Dr. Ashni Kumar Singh) who keeps the works of local poets alive in periodical publications of anthologies. And The Arts Journal, considered “the premier Journal’ of the country (Guyana Review) has established a critical tradition which was previously lacking in the society.

(to be continued)

The editor of The Arts Forum Sunday Page can be reached by e-mail: [email protected] or Telephone: 592 227 6825 or Fax: 592 225 0712

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