– local artists talk significance, preservation of indigenous culture, beliefs in mystical art form

by Ravena Gildharie
CITIZENS from all walks of life are often awestruck by the 20-foot Wakili Totem Pole mounted in the National Park, Carifesta Avenue, Georgetown. To the majority, it is a masterpiece, but to the skilled indigenous local artists who spend long hours pouring their talents into designing and carving such creations, the totem pole is a significant monument that captures, promotes and preserves the existence, ways of life and beliefs of Guyana’s first peoples.

Totems or totem poles are wood carvings bearing the designs of various symbols that represent things, experiences and beliefs and some which give identity to individuals or groups. The carvings are made on large long logs, figurines, walking sticks and centre poles in benabs.
The first public totem pole in Guyana, Hikarana, was mounted as a symbol of joy among the Caribbean during the staging of the 10th Caribbean Festival of Arts (CARIFESTA) in 2008 in Georgetown. It was mounted at the former location of the Walter Roth Museum of Anthropology on Main Street. It was sculpted by Arawak artist Telford Taylor, originally from St. Cuthbert’s Mission.

Since then, totems have been mounted in Georgetown under the ‘Art in the Park’ initiative and in the Rupununi villages of Surama and Annai, while a miniature figurine was specially designed in observance of Guyana’s Golden Jubilee earlier this year. The mini totem pole travelled to all 10 of Guyana’s administrative regions before it was brought back to the city.
Award-winning Guyanese sculptor Winslow Craig is currently working to complete a giant totem pole that will be erected at the Umana Yana during the Amerindian Heritage Observances in September, 2017. He started carving on the 50-foot bulletwood log last year as the totem pole was initially planned as a highlight of the 50th Independence Anniversary and to match the depictions on the miniature figurine. The project, funded by Digicel at a cost some $6 million, encountered some setbacks, but it is still under way.

“This totem pole means quite a lot to me personally, because producing a project of this magnitude is a representation of my skill as an artist and my beliefs as an indigenous person. The research I’ve done for this project and reflecting on my years of growing up while carving this pole, has brought me closer to that part of my indigenous connections,” said Craig, who was recently awarded the Golden Arrow of Achievement for his contributions to the arts in Guyana.
Like the mini totem, the giant pole signifies existence of the indigenous peoples and showcases too the identity of each region with symbols that the indigenous peoples can identify with. It reflects the power of the Makanaima Spirit with emblems of the harpy eagle at the top overlooking all of his people, the face of a village chief depicting leadership qualities and an owl which represents wisdom.

“I also have a very strong spiritual background and I believe in the power of nature and the way how it reflects our spiritual beliefs; and the respect and admiration we, as a people, have for nature and that is my source of inspiration,” Craig outlined.
He noted that “Amerindians have always lived close to nature and in harmony with nature and that is what is captured in the totem poles.” This is the first totem Craig has worked on since his career in art.

Marking existence
The Wakili Totem Pole was designed and carved by Lokono artist Oswald Hussein. It includes 10 different depictions of animals from the rainforest, mythical creatures and spirit guardians, promoting the connections between indigenous people and the earth. From the anaconda to the water spirit – Orio, the totem pole is a prized creation inspired by Hussein’s personal experience with the rainforest.
“It was an inspiration that started since the early 2000s and its origins are from the earth with various symbols of life in the rainforest; the jaguar, the anaconda, the fish, all generated in various forms,” Hussein explained.

Born in 1954 and raised in St. Cuthbert’s Mission, Hussein is a self-taught artist that started wood carving since the age of 10. His work is inspired by his native Arawak culture and traditions and has won many prizes and awards over the years.
He recalled working on his first totem pole years ago which he mounted in his yard at St. Cuthbert’s Mission. More recently, he has carved poles for Surama and Annai.

“For me personally, the totem pole is something that had to be done…It is an achievement and it speaks of a reason and change through time. It states our existence in life as Amerindian people and the things, the animals and our experiences,” Hussein explained.
His totem poles are carved from wood such as purple heart, greenheart and bulletwood that can better withstand varying weather conditions. It usually takes about one month, working every day with his chainsaw, chisel, axe and gouge to carve the symbolic designs onto the log.

Hussein said he has seen totem poles in North America and though they have varying meanings, the designs are similar to those in Guyana.
“I feel really good having done the totem poles which can stand maybe 30 to 40 years from now; and I feel proud that our Arawak tribe and way of life will remain for others to see and as our knowledge expands, so will our relationship with the rest of the world,” the sculptor said.

Spiritual connections
Foster Simon is another wood sculptor who also hails from St. Cuthbert’s Mission and who designed and carved the Golden Jubilee mini totem pole, Makanaima. The piece showcases the unique identity of each of the 10 administrative regions and combines symbols of the nine indigenous tribes showcasing their connections with nature and the different spiritual aspects of their life.

At the top, there is a symbol of the harpy eagle, which is an interpretation of the indigenous people’s great ancestral spirit, Makanaima. Simon said each region submitted their concept and as he worked on the carving over a one-month period, his ideas flowed daily.
“The totem pole is a mystical form of expression for the indigenous people, for us to bring out for the world to know. It is to showcase our culture, our connections to our ancestors and to help keep our culture alive,” explained Simon, who has been carving for over 26 years.

“One of the mini totems I worked on recently has three different features: highlighting the swamp birds which move fast through the jungle and from which our ancestors got the feathers to move speed the magical frog who rules over the kingdom and the medicine man which captures the spirit of the bird and frog to blow his medicine,” related Simon.
He draws inspiration from meditation and dreams which have allowed him to create many spectacular works of art over the years, including miniature totem poles, helicopters, canoes, arrow and bows among others. He is currently preparing to carve a totem on the middle pole of the benab in his community.