PLACING ITS VALUE FROM THE ROOT OF ITS LINEAGE

GUYANA, then British Guiana, contributed to the international arts long before independence. The reality is that we have never had a serious entity dedicated to documenting these contributions to inspire immediate followers and future generations. In the economic aspect, there was also a group of struggling arts-based registered institutions, including yours truly, that played a role in this movement.

Most of those pioneers journeyed to the British Isles, while others were drawn to the American explosion of the 1940s, which developed into the international music and entertainment industry. Some gravitated towards dramatic arts, others towards literature, and still others towards the classics.

As early as 1945, an Afro-Guyanese musician, Rudolph Dunbar, made history. He was not only a war correspondent during World War II, but he also conducted and administrated the Berlin Philharmonic Orchestra post-war. The fact remains that we know very little about the atmosphere that surrounded him among his European counterparts. However, we do know that Dunbar received superlative praise from the French press and leading conductors, such as Claude Delvincourt (see J.A. Rogers). Sadly, much of his experience—the struggles he endured in a time when racist ideologies still thrived, even among the very Western Allies who had fought against Nazi Germany—seems lost to us.

Another significant figure hails from Beterverwagting (BV), Guyana. (At this point, I would like to take a jab at my colleague Elton McRae, also of BV, and declare,”A village that does not celebrate its heroes”.)

This notable figure was Cy Grant, a musician, actor, writer, and World War II fighter pilot. He was shot down in combat and captured by the Germans, an experience that later shaped his novel, A Member of the RAF of Indeterminate Race, a phrase first coined by the Nazi press during the war.

Cy Grant left an undeniable impact in multiple creative fields—music, theatre, and literature. One of his most intriguing books, Ring of Steel Pan, Sound, and Symbol, explores the cultural significance of steel band music, much like Guyanese scholar Gordon Rohlehr did with calypso. Rohlehr remains one of the most authoritative voices on Caribbean music, history, and cultural trends.

The contributions of these figures—and many others—have left us with a rich and valuable legacy. Yet, a significant portion of their written works and research remains out of print, desperately in need of republication.

This article cannot possibly list all the great names who shaped our cultural heritage, but it would be a disservice not to mention those who are currently defining our creative identity.
For instance, Sir Henry Muttoo, a Guyanese playwright, artist, and stage designer, was knighted by the British Crown for his outstanding contributions to theatre.

Many other remarkable names—both past and present—deserve recognition. However, the more pressing issue is this:
How can we, as a nation, fully harness our artistic potential?
The current generation of creatives in Guyana possesses extraordinary talent, yet they remain entangled in a system that does not fully support creative growth and expansion. The ability to produce internationally marketable art exists, but it requires strategic engagement and investment to break free from the stagnation that continues to hinder our creative industry.

This is the challenge we must tackle head-on if we are to preserve, celebrate, and expand the legacy of Guyana’s cultural and artistic movement.