IN past articles, I have highlighted the work of ancient rock art, much of which we cannot clearly identify or accurately interpret, but which does tell stories of events that we modern folk still ponder. What should astonish us are the sequences of ‘cartoons’ and humorous characterisation in ages that we presume were primitive and quick at severe and violent judgement. What we must reiterate is that some human qualities were nurtured in eras that were more accommodating and civilised than our own, in their ability to relate to humour and mocking interpretations of their times in both art and music.

Throughout the evolution of civilisation, humans have leaned on the arts in all forms to gain greater clarity about the self. Illustrators emerged to leave footprints beyond shattered human remains, marking the growth of our species and announcing not only the stereotypical elements of our cave-nature towards violence, but also creative tendencies to establish archives we may follow. Thus came the awareness of choices and the growth of more civilised potential, which we at times recognise and embrace, through expression or sincere acknowledgement.
What we are now sure of is that we humans are a species in continuous evolution, balancing our character towards the higher consciousness we readily assume is innate, especially in observing the non-human animal and insect realms that co-exist with us. But not every sphere of human occupation places the expressions of the arts as infinite as their manifestations express. For some, what can be described as the mundane exclusively prevails.

The king Darius the Great, of the warring nation of Persia, commanded the designers and artists of Egypt to be housed in his domain to design and beautify his capital in the Persian-occupied land of Elam. From the text, it would seem that the arts of Egypt overwhelmed him; even his personal imagery was redone in the forms of Egypt (Khemet).
Today in Guyana, most of our accomplished artists are compelled to reside abroad because it seems that what inspires collective politics requires no aesthetic engagement, and this is not exclusive to any particular group thinking. The arts, as in every dual commercial expression, require input from their own world of multiple inspirations that drive their expression to reach the platform of choice. The individual artist, in most cases, expands from the inspiration that was the magnet of that inner dream-self, relating to the kindred world around—the multiple realities of its shades of truth—that beckon to be expressed.