PULL QUOTE: ‘I am saddened that there are not more children here this evening so they could understand and appreciate the contributions of the person we are honouring’- Eric Phillips
AMIDST odes, reflections and pontifications in commemoration of the life of Guyana’s iconic sculptor and artist, Philip Alphonso Moore, A.A., on Friday, came poignant calls for decisive action to be taken to impart to our children in particular, information about this legendary figure whose life and works impacted the nation of Guyana in diverse, yet unique ways.

The calls were made during a Round Table Discussion among artists, writers, curators, scholars and villagers, held at the Umana Yana, Kingston and organized by the Department of Culture of the Ministry of Culture, Youth and Sport, in collaboration with the Museum of African Heritage.  The theme was ‘Art,  Philosophy and Life of Philip Moore A.A., 1921-2012’.

Panelists included Curator of the National Gallery of Art,  Ms. Elfreida Bissember;  Ms. Coreen Moore (daughter of the late sculptor);  Mr. Tom Dalgety; Dr. Penda Guyan; and Mr. Francis Farrier.  The moderator was  African Cultural and Development Association (ACDA) Executive, Mr. Eric Phillips, while attendees were mainly senior citizens and other persons closely associated with Moore during his lifetime.

The presentations revealed startling truths about Moore, as he journeyed through the years, spanning 1921 to 2012:  his contribution to art, his philosophy and life; his contribution to the Jordanite Church and his psychic outlook to life, among myriad other things. According to the moderator, Moore’s was an ancient spirit in a modern body.  There was overwhelming consensus on the part of the panelists, with members of the floor concurring that not sufficient has been done to keep the memory of Moore alive, through chronicling his stories; his struggles, his bold acts of patriotism, such as giving up his prestigious job teaching sculpting in the United Kingdom to return home; as well as stories of his eventual breakthroughs.  

In essence, the story of Phillip Moore must be told, and his dream and memory must live on, they submitted. Moreover, they felt what his works should be prominently displayed in  places where they could be viewed by all.
 
Observing that there were very few young people attending the forum, Moderator Eric Philips said: “I am saddened that there are not more children here this evening so they could understand and appreciate the contributions of the person we are honouring.”
   
Phillips, who shared one of Moore’s favourite admonitions, recalled he would always say: “Do not put your talent under a bushel; place it on a beacon as high as the Cuffy Monument.”
 
In seeming concurrence, Ms Bissember observed: “We do not share
enough about the work of art.”  Of Moore, she said, “He was a brilliant artist who always had future ideas.”  For her, he was a “sculptor and painter with stimulating and intriguing elements which had patterns and rhythms.”

She alluded to his incredible artistic phenomenon, resilience and recalled he had such a love for his job  he  never gave up, but continued working until the time of his death.
 
Brother Rudy Bourne, speaking from the floor, made the point that as
a great man, a philosopher and fighter and hero, Moore’s remains should be  placed  near The Seven Ponds Place of Heroes in the Botanical Gardens in the city. He too called for the children of Guyana to be taught about the life and works of Philip Moore.
   
And Ms. Janet Barry Walrond, a retired educator, taking pride in the accomplishments of Philip Moore who mastered the art of using his hands to produce great things, also made the call for an education that would teach our children to use their hands in artistic and creative  and productive ways.   She took note of the phasing out of Community High Schools, and recalled that Moore’s philosophy on life was giving people a trade so they could produce meaningfully.

“I believe that the greatest tribute we can give to Phillip Moore is to get back to working  with the hands,” she said.
 
Meanwhile, Minister of Culture, Youth and Sport,  Dr. Frank Anthony, agreeing that  there is need for recognition of Mr. Moore’s work said, “That is something that we have started, since it is so much important that we recognize Phillip’s work.”

He recalled having met and held discussions with  students of the School of Art,  who have a  knowledge of the life and work of Philip Moore, and who spoke of the impact he has had on their lives.

“His contribution to the School of Art was tremendous and all the students have been telling me  what Phillip’s life meant  to them, the community, and how we can benefit.”

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“And I think that’s the lesson we have drawn … how can  we learn from this great repertoire of knowledge.” Minister Anthony said his Ministry promised to do a number of things and  has already done a few of them, noting that the Ministry of Culture had mounted an exhibition of more than 20 pieces of Moore’s work in New York.
 
Noting that there are so many pieces of  work done by Moore,  Dr. Anthony said his ministry made a commitment about a year ago that they would like to have Philip Moore’s work catalogued, so that from time to time, people can see his great works.  Confident they are off to a good start, he said, “We have catalogued the pieces and know where they are.”  

In addition,  Minister Anthony said,  one year ago, when they  held a Visual Arts  Exhibition and Competition, the Ministry of Culture, Youth and Sport put aside $1 Million to start this initiative and the Committee of Management  has identified someone who could do the job.

Evidently disposed to working towards ensuring that Moore’s  memory lives on, Dr. Anthony concluded:  “And I’m sure that as we have more and more discussions like these, other ideas would emerge, and we are prepared to work with these ideas and to pursue what we can.”

“We all have a role to play if we are going to perpetuate his memory, whether we do it on audio or other means,” he said, adding that, “If we don’t do that, as people pass on, we will lose that great archive of ours, so we need to document these things.”

The programme which was attended by a modest gathering, opened up with a Libation Ceremony, headed by Bishop Irvine and the rhythmic and symbolic beating of drums by the Orlando Primo ‘Finger Tip’ Drummers.