The secure cultural bridge –across which all things must traverse

CULTURE is the archive of our being. Culture traces from whence we came to where we are, and the substance that helps guide the course to what our life quest intends to achieve.
Culture also evolves. The metaphors that guided us yesterday to where we are today now have other interpretations within the present realisation of self that our shadow answers to.
Like all areas where specific knowledge is required, culture cannot be bluffed; nor can borrowed facades interpret the cultural memory of the tribes-folk against what they know.
Now that the above has been said, let’s get down to the development and serious articulation of the profound achievements of our ancestors, as those elements apply to our time, so we can stand before the excellence of others and say, “We too have stories to tell and places to show you.”
With reference to the arts, there are some initiatives that I had conceptualised that could be applied, through a secular meaningful medium, to enhance the public consciousness to the visual arts.
This was intended for a discussion with the arts community and the architects and construction community preparing working- class housing.
That arts/architect gathering is still to happen, but the public awareness is never to be taken for granted, so here is that proposal I came up with.

THE PROPOSAL
In May, there will be a housing ‘expo’ intended to reach low-income Guyana. I had spoken to one contractor who informed me of this. The original idea was to have the National Gallery acquire a printmaker and have a team trained to produce prints.
At every display of architecture presented to our public, there will be a chance to hang a framed local print with its certificate which carries a brief about the artist on the wall. This would earn the Gallery some income, and the Artist or his or her relatives some royalty on prints sold.
The intention is to allow this to grow and edge into the general market where, for too long, we have allowed cheap, variety-shop reproductions to proliferate; coming from all over the world with images external to our own social and historical experience.
This is not to say that the appreciation of great art is flawed because it’s not Guyanese. But we must begin a realistic experience of involving our population with their aesthetic self; to inspire them about their own story, in this case, captured by Guyanese artists.
As far as I know, there is no fine-art printmaker machine and operation in our country. And why should one exist if no State initiative embraces the concept outlined above? But the artists are there, if art works are needed!
Unless the psychological-cultural bridge is built that extends beyond the political opportunism that intrudes, regardless of how senseless the logic they spurt, ignorance will continue to saturate our national consciousness, prolonging the venom-driven propaganda that has eclipsed enlightenment in so many areas.

BRIDGING THE GAP
Here is an example of what I’m referring to. I was asked to talk at a school about Mashramani this February past; a cultural day event, which, I think, is a great idea. I began the session by addressing the topic from its root.
One of the questions I asked was, “Why February 23? A teacher enquired if it was not because that day was the birthday of the late President Burnham?
I wasn’t prepared for that answer, so a great part of the presentation was shifted from Mashramani’s genesis at Linden to the historical foundations of our Republic status. I had to explain the February 23, 1763 Rebellion/revolution that occurred in Berbice, exploring how Kofi wanted to establish the first non-colonial state in Berbice.
This was not a rebellion that merely sought to burn plantations and flee to maroonage in the rainforests. Going into details about all that our historians had presented, much of it from the Diary-Letters of the Dutch Governor Van Hoogenheim, and from my own research into the Akan Peoples that Kofi had come from, I explained that this event was one of the leading revolutions of its time; before George Washington in North America; Toussaint in Haiti; and Bolivar in Venezuela.
It was exhausting but rewarding going over all this that is common knowledge that is taken for granted, but in fact just rests with a learned handful of citizens.

OUTDOOR THEATRE
The other concept I wish to publically share is related to the dramatisation of historical landmarks like ‘1763’. We now have the elegant space of the Jubilee Stadium that can provide outdoor theatre with some manipulation for stage management. Here is a venue within the walking reaches of large populations that can well house any historical drama. I am sure patriotism can be squeezed out of the successful private sector to participate.
Any such drama can be visually recorded; this can be a new feature for that venue that will not in any way undermine the National Park or the Providence Stadium.
But, if considered, its execution will not be fulfilled by the ‘shirt-buttons’ who flock every national breath of air with only their airs to add; this will firmly require Guyana’s cultural corps at its best.

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