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https://www.dreamstime.com/photos-images/food-guyana.html

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365 Food Guyana Photos - Free & Royalty-Free Stock Photos from Dreamstime

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Your Food Guyana stock images are ready. Download all free or royalty-free photos and images. Use them in commercial designs under lifetime, perpetual & worldwide rights. Dreamstime is the world`s largest stock photography community.

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https://www.chefspencil.com/top-20-guyanese-desserts-with-pictures/

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https://docs.google.com/presentation/d/1yaqfDdZKZddN6fh7QiCLi7NtJBK9cn6tCe5ydx2TyE8/edit?usp=sharing

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https://docs.google.com/presentation/d/1Z4SII51_7YZQBOOR2K6hYBygQMYXwStgS7rZhG4CYkU/edit?usp=sharing
This is the PPT slide show

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This is talking about some information about the top five festival in Guyana which were Mashramani, Divali, Paghwa, Easter-International Food and Drink Fest, and  Independence Day, they talked about when was the festival also what do they do, also some have written down the history of that festival.

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This is an example of original Guyana housing, and it is a villa that can let outsider came to live, and they can feel the culture in this house because this kind of housing is what Guyana have

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This talks about what are the top 5 festival that people celebrate, also some basic information such as the date, what they do.

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This was a world tallest building made by wood, and which was built in Guyana, it was built in 1892

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https://en.wikipedia.org/wiki/Awa_Dance_Festival

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The Awa Dance Festival is held from 12 to 15 August as part of the Obon festival in Tokushima Prefecture on Shikoku in Japan. Awa Odori is the largest dance festival in Japan, attracting over 1.3 million tourists every year.

Groups of choreographed dancers and musicians known as ren (連) dance through the streets, typically accompanied by the shamisen lute, taiko drums, shinobue flute and the kane bell. Performers wear traditional obon dance costumes, and chant and sing as they parade through the streets.

is the old feudal administration name for Tokushima Prefecture, and means "dance".

The earliest origins of the dance style are found in the Japanese Buddhist priestly dances of Nembutsu-odori and hiji-odori of the Kamakura period (1185-1333), and also in kumi-odori, a lively harvest dance that was known to last for several days.

The Awa Odori festival grew out of the tradition of the Bon Odori which is danced as part of the Bon "Festival of the Dead", a Japanese Buddhist celebration where the spirits of deceased ancestors are said to visit their living relatives for a few days of the year. The term "Awa Odori" was not used until the 20th century, but Bon festivities in Tokushima have been famous for their size, exuberance and anarchy since the 16th century.

Awa Odori's independent existence as a huge, citywide dance party is popularly believed to have begun in 1586 when Lord Hachisuka Iemasa, the of Awa Province hosted a drunken celebration of the opening of Tokushima Castle. The locals, having consumed a great amount of sake, began to drunkenly weave and stumble back and forth. Others picked up commonly available musical instruments and began to play a simple, rhythmic song, to which the revelers invented lyrics. The lyrics are given in the 'Song' section of this article.

This version of events is supported by the lyrics of the first verse of "Awa Yoshikono Bushi", a local version of a popular folk song which praises Hachisuka Iemasa for giving the people Awa Odori and is quoted in the majority of tourist brochures and websites. However, according to local historian Miyoshi Shoichiro, this story first appeared in a Mainichi Shimbun newspaper article in 1908 and is unsupported by any concrete evidence. It is unclear whether the song lyrics were written before or after this article appeared.

Some evidence of the festival's history comes from edicts issued by the Tokushima-han feudal administration, such as this one dating from 1671:

1. The bon-odori may be danced for only three days.
2. Samurai are forbidden to attend the public celebration. They may dance on their own premises but must keep the gates shut. No quarrels, arguments or other misbehaviour are allowed.
3. The dancing of bon-odori is prohibited in all temple grounds.

This suggests that by the 17th century, Awa's bon-odori was well established as a major event, lasting over three days-long enough to be a major disruption to the normal functioning of the city. It implies that samurai joined the festival alongside peasants and merchants, disgracing themselves with brawling and unseemly behaviour. In 1674, it was "forbidden for dancers or spectators to carry swords (wooden or otherwise), daggers or poles".[attribution needed ] In 1685 revelers were prohibited from dancing after midnight and dancers were not allowed to wear any head or face coverings, suggesting that there were some serious public order concerns.

In the Meiji period (1868-1912) the festival died down as the Tokushima's indigo trade, which had financed the festival, collapsed due to imports of cheaper chemical dyes. The festival was revitalised at the start of the Shōwa period (1926) when Tokushima Prefectural authorities first coined the name "Awa Odori" and promoted it as the region's leading tourist attraction.

Narimono players (鳴り物 , Narimono)

The song associated with Awa Odori is called Awa Yoshikono and is a localised version of the Edo period popular song Yoshikono Bushi. Parts of it are sung, and others are chanted. The origins of the melodic part have been traced to Kumamoto, Kyūshū, but the Awa version came from Ibaraki Prefecture, from where it spread back down to Nagoya and Kansai. The lyrics of the first verse are:

Awa no tono sama Hachisuka-sama ga ima ni nokoseshi Awa Odori
What Awa's Lord Hachisuka left us to the present day is Awa Odori

The song is usually sung at a point in the parade where the dancers can stop and perform a stationary dance - for example a street intersection or in front of the ticketed, amplified stands which are set up at points around the city. Not every group has a singer, but dancers and musicians will frequently break out into the Awa Yoshikono chant as they parade through the streets:

The dancers also chant hayashi kotoba call and response patterns such as "Ayattosa, Ayattosa", "Hayaccha yaccha", "Erai yaccha, erai yaccha", and "Yoi, yoi, yoi, yoi". These calls have no semantic meaning but help to encourage the dancers.

Dancers and musicians at Kōenji Awa Odori, 2017

During the daytime a restrained dance called Nagashi is performed, but at night the dancers switch to a frenzied dance called Zomeki. As suggested by the lyrics of the chant, spectators are often encouraged to join the dance.

Men and women dance in different styles. For the men's dance: right foot and right arm forward, touch the ground with toes, then step with right foot crossing over left leg. This is then repeated with the left leg and arm. Whilst doing this, the hands draw triangles in the air with a flick of the wrists, starting at different points. Men dance in a low crouch with knees pointing outwards and arms held above the shoulders.

The women's dance uses the same basic steps, although the posture is quite different. The restrictive kimono allows only the smallest of steps forward but a crisp kick behind, and the hand gestures are more restrained and graceful, reaching up towards the sky. Women usually dance in tight formation, poised on the ends of their geta sandals.

Children and adolescents of both sexes usually dance the men's dance. In recent years, it has become more common to see adult women, especially those in their 20s, dancing the men's style of dance.

Some of the larger ren (dance groups) also have a yakko odori, or kite dance. This usually involves one brightly dressed, acrobatic dancer, darting backwards and forwards, turning cartwheels and somersaults, with freestyle choreography. In some versions, other male dancers crouch down forming a sinuous line representing the string, and a man at the other end mimes controlling the kite.

Kōenji, an area of Tokyo, also has an Awa Dance Festival, modeled on Tokushima's, which was started in 1956 by urban migrants from Tokushima Prefecture. It is the second largest Awa Dance Festival in Japan, with an average of 188 groups composed of 12,000 dancers, attracting 1.2 million visitors.

The Japanese production company Tokyo Story produced a version of Awa Odori in 2015 in Paris by bringing dancers from Japan in order to promote Awa Odori and the Japanese "matsuri" culture abroad.

Awa dance is a 2007 Japanese movie starring Nana Eikura. The festival is also prominently featured in the 2007 movie Bizan starring Matsushima Nanako. The novel series and anime Golden Time prominently features lead cast members along with their friends in their college club, the Japanese Festival Culture Research Society, performing the Awa dance multiple times during the story. Posters representing popular anime characters practicing the Awa dance are also printed every year for the festival. They featured "Fate/stay night", for example, in 2014.

In the 1994 Studio Ghibli film Heisei Tanuki Gassen Ponpoko (released as Pom Poko in English-speaking countries), during the scene where the film's tanuki use their transformation magic to put on a parade of yokai, part of their display includes a procession of tiny Awa dancers.

Miyoshi, Shōichirō (2001) Tokushima Hanshi Tokuhon

Wisniewski, Mark (2003) "The Awa Odori Trilogy" in Awa Life, published by TOPIA (Tokushima Prefecture International Association)

de Moraes, Wenceslau (1916) Tokushima no bon odori.

House, Ginevra (2004) "Dancing for the Dead", Kyoto Journal Issue 58.

Official Japanese sites

English/English translation

Audio and video

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The Awa Dance Festival is held from 12 to 15 August as part of the Obon festival in Tokushima Prefecture on Shikoku in Japan. Awa Odori is the largest dance festival in Japan, attracting over 1.3 million tourists every year.

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sometime they will also dance a dance named awa odori

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https://guyanatourism.com/exploreguyana/cultureandheritage/festivalsandevents/

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If there is one thing that stands out about Guyanese, it is that we love coming together and enjoying celebrations. Many festivals and events showcase the country's colourful ethnic diversity. These events come alive through road parades and processions, street jams and parties. So, mark your calendars and plan your trip around one of these exciting events. You will not be disappointed.

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If there is one thing that stands out about Guyanese, it is that we love coming together and enjoying celebrations. Many festivals and events showcase the country's colourful ethnic diversity. These events come alive through road parades and processions, street jams and parties. So, mark your calendars and plan your trip around one of these ...

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What Cumfa  dance looks like

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What Guyana culture dance looks like

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This talks about 13 festival that Guyana has, which was

1. Mashramani

2. Phagwah,Easter

3. Rupununi Rodeo

4. Bartica Easter Regatta

5. Guyana Carnival

6. Eid-ul-Fitr

7. Motor Racing

8. Lake Mainstay Regatta

9. CPL Cricket

10. Indigenous Heritage Month

11. Diwali

12. Rockstone Fish Festival

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It was introducing the dances: Cumfa, Queh Queh and Soiree

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This is about the process of making the Bara

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This is about the history of Guyana music, it also contain the history when new imperialism come out and the Cambridge.

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This is about Steamed Dumplings, it is kind of similar to the chinese buns, but it has a small difference. And this talks about how to make it, the different way of steaming and also how to make gluten free Guyanese Duff

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Guyana has a very special and unique culture, and in the website, there were  3 actual example and some more story's name listed, the 3 example are The Story of Amalivaca, The First People and Kanaima.

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because of the virus, the competition on 2022 will be on 2023 and which is 50th anniversary for the NACAC

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Guyanese people love to play these sport, although they also play other sport such as football or basketball, but these sport are special, unique on the world

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Guyana literary award had been remove by Guyana's government, many artist, novelist, poet won't have the chance to be seen, and to be awarded, these people are the creator and saver of Guyana culture, but their government don't even think there aren't any these kind of people appearing, so we can know that the government should do better job on this.

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This introducing some famous and some less people known folks story

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The culture of Guyana is actually many country's culture collection,  such as Africa, India, China...
Women who is Hindu or Muslim mostly dress their self in a sari or a shalwar way.

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People that want to be a model can be on this stage to start they model life, many social software such as Instagram, twitter have official account which will post some picture that came from the show

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The designer in Guyana has awarded for contribution to Caribbean fashion industry, and people are trying to let Guyana get in the competition or some event about fashion.
They also help selling and collection thing that other people needs to make clothes or something about fashion.

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WPAC is a team which was a group which was doing something about the 3D wood sculpture. They make some fastival, the first festival start at 1972, which is Caribbean Festival of Arts, they also make competition, which the first one start at 2012 named Guyana Visual Arts Competition

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This is a biography about John Agard, who born in 21 June 1949 , in his poem, he make his first poem on 1971, and the latest one was at 2020

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This is about some poetry that guyanese create between 06/03/2018 and 12/17/2021, also the member of creating the poetry, we can see that Haniff, Maryam Jameela has create the most, which has 108 poems.

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https://www.chefspencil.com/top-25-foods-from-guyana-with-pictures/

this shared post is based in Georgetown which is the capital of Guyana

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Guyana, also known as the "land of many waters", is the only English-speaking country in South America. This little country on the Amazon basin is a melting pot of cultures and traditions.

Guyana has a very vibrant history and was fought after by the Dutch and British. During this period, African slaves were brought here to work on the sugar plantations.

After the abolishment of slavery, indentured immigrants from India, China, and Portugal were shipped in, bringing with them their native dishes. The country's first people, the Amerindians, also played a part in developing this unique cuisine. Together, this land of six races brings to the world food like no other nation on earth.

Let us jump right into the most delicious dishes you must try in Guyana.

1. Pepperpot

Pepperpot is the national dish of Guyana and celebrates the contribution of the nation's first people.

It is a slow-cooked meat stew using beef, but some versions use mutton, pork or chicken. The meat is cooked with peppers, cinnamon, spices, and cassareep (a sauce made from cassava root (yucca) and a handful of other ingredients).

Soaking up the decadent stew with a piece of homemade bread is a great way to enjoy this dish, especially on Christmas morning.

2. Cassava Bread

Cassava bread is a crispy-thin flatbread made from grated cassava dried to a powder. The taste of cassava bread is like that of a rice cracker and it goes well with peanut butter or pieces of avocado as a fantastic snack.

3. Farine

Farine is made from cassava root flour and has the consistency of couscous. The taste is bland, similar to rice, and goes well with a delicious curry or spiced vegetables.

4. Metemgee

Metemgee is a hearty and thick soup bursting with the flavors of African influence.

This tasty dish involves boiling together vegetables and hearty starches such as plantain, yam, cassava, sweet potato, and others. The vegetables and starches are all combined with some meat in a coconut milk broth.

5. Cook up Rice

This blend of peas, rice, meat, and coconut milk is a heart-warming meal. Cook up is a highly customizable dish with many variations using different types of beans, peas, and meat. Cook-up with pepper sauce (blended pepper in lime juice or vinegar) on the side really gets your taste buds going.

6. Curry and Roti

This dish is of East Indian origin and uses meat such as chicken, fish, duck, shrimp, and crab.

The meat is cooked in a mixture of curry powder and masala (a blend of dry-roasted ground spices such as cinnamon, cardamom, cloves, nutmeg, and others). It simmers until the meat is tender and a thick gravy is left behind.

These infused pieces of meat in gravy are scooped up with either roti (a flaky flatbread), rice, or dhal puri (roti stuffed with seasoned yellow split peas ground up into a smooth paste).

7. Dhal

Dhal is a gravy dish made from boiling yellow split peas in water with garlic, pepper, and other spices. A swizzle stick is used to make the dhal smooth and then slightly burnt cumin and garlic are added for a hint of smokiness.

This flavorful gravy with rice or roti can be topped with any meat or vegetable dish.

8. Coconut Choka

Coconut choka is ground fire-roasted coconut seasoned with onion, garlic, and lots of pepper. It is enjoyed with rice and dhal and is quite a zesty meal.

Choka can also be made from roasted eggplant and tomatoes or fish, which are then mashed and seasoned with onion, garlic, pepper, and fresh herbs.

9. Seven Curry

"Seven curry" reflects the flavors of India and is a meal eaten at Hindu religious functions.

The seven curries are potato, channa (chickpeas), eggplant, eddoes (similar to taro), pumpkin, spinach, and katahar (a type of breadnut). This finger-licking meal includes the curries, rice, dhal, and chutney (a spicy condiment from cooked green mango and pepper) in a giant water lily leaf. It is usually eaten using the fingers rather than a spoon.

10. Bake and Saltfish

Bake and saltfish is a typical breakfast meal and consists of fried dough and saltfish. The dough puffs up as it is fried in oil for a crispy outer shell and a pillowy-soft hollow inside.

11. Black or White Pudding with Sour

This is a direct influence of the British and Irish. Black pudding is a blood sausage with rice, flavored with fresh herbs and other seasonings, stuffed into the intestines of a sheep or cow.

White pudding contains all the ingredients of black pudding except the blood. Dipping pieces of the "pudding" in sour (a local condiment made with mango or tamarind) elevates the dish to a whole different level.

12. Garlic Pork

This Portuguese pickled meat dish is made from chopped pieces of succulent pork seasoned with large amounts of garlic, pepper, and fresh herbs.

The meat sits in brine for up to 4 days to pickle before cooking in its fat until brown and tender. It goes best with homemade bread and is popular during the Christmas season.

13. Chicken Foot Souse

This dish has European origins and consists of chicken feet. Other variations include the ears, feet, knuckles, and shoulder of a pig, or the heel of a cow and the head, which becomes gelatinous when cooked.

The cooked meat or trimmings are usually soaked in a brine made of water, lime juice, cucumbers, hot pepper, salt, and specially prepared seasonings.

14. Black Cake

Black cake is a rum-soaked fruit cake that is popular at Christma time and special events.

This sinful treat closely resembles a chocolate cake but do not be fooled. The dark color is thanks to the bits of fruit heavily soaked in red wine and dark rum.

15. Fried Rice

Guyanese fried rice is a medley of ingredients such as meat, eggs, vegetables or seafood. It closely imitates the Chinese fried rice but with a West Indian twist of using Chinese Five Spice (a blend of cinnamon, fennel, cloves, star anise, and Szechuan peppercorns).

This gives Guyanese fried rice its distinct flavor.

16. Chowmein

With influences from the Chinese, Guyanese chow mein is a mix of noodles, chopped up veggies, meat, and sauces of your choice fried in oil.

Whilst hot, this food tickles the taste buds with the amazing taste of marinated meat and sauces including soy, cassareep, and others.

17. Wild Meat

Wild meat is legally sold in Guyana so it is quite usual to eat various wild animals.

But it's only legal to hunt certain wild animals such as Labba (Cuniculus paca), Capybara (Hydrochoerus hydrochaeris), Peccary (Tayassu pecari) and Iguana. These exotic meats are consumed either in a curry or stew .

18. Pholourie

Pholourie is a crispy fritter made by frying balls of spicy yellow split pea dough. Served with a side of sour, it is a mouth-watering snack for when you're on the go.

19. Eggball

Eggball is prepared by covering a boiled egg in a mix of boiled and mashed cassava, raw egg, and spices, and then frying it. Just like pholourie, a side of sour makes for a filling and flavorsome snack.

20. Plantain Chips

The plantain is cut into numerous round or long thin pieces, which are then deep-fried to give you a delightfully crunchy snack. Much like chips and dip in other parts of the world, plantain chips pair well with sour.

21. Chicken Foot

Chicken foot does not include any part of a chicken. Rather, it is made from strips of spiced dough. Once fried, these strips, seasoned with flour, curry powder, and cumin, closely resemble chicken feet.

They are quite crunchy, but leaving them in the liquid-y sour for a while will soften them a tad.

22. Tennis Roll and Cheese

Tennis roll is very much like a dinner roll with a slice of extra sharp cheddar cheese in the centre. It is a snack that can be enjoyed any time of the day with a cool refreshing beverage or a hot cup of tea or coffee for a moment of bliss.

23. Fried Fish and Bread

Fried fish and bread is fried fish placed in a tennis roll with ketchup and pepper. The crunchiness of the fish against the softness of the bread makes it a much-loved sandwich.

24. Gun Oil

Gun Oil; Photo credit: Youtube

Gun oil is corn in fresh coconut milk seasoned with salt, pepper, and thyme and cooked until all the flavors are infused into the corn. It is then served with some of the "juice" for a powerful combination that is believed to give men strength and help them stay fertile.

25. Pastries and Patties

Pastries and patties are common snacks that feature fruit or meat fillings in a flaky dough and are great to enjoy anytime, anywhere.

The scrumptious options include Chinese cake (candied, mashed blackeye peas), pine tart (candied pine), cheese roll, chicken, beef, etc.

Guyanese food gives you a taste of almost every country in the world due to its first settlers, slavery, and indentured labor. The combination of different cultures adapting the local spices, meat, and vegetables takes you on an exciting culinary journey.

If you're interested in the Guyanese cuisine, check out our rankings of the best desserts in Guyana.

Top Desserts in Guyana

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Top 25 Foods from Guyana (With Pictures!) - Chef's Pencil

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Guyana, also known as the "land of many waters", is the only English-speaking country in South America. This little country on the Amazon basin is a melting pot of cultures and traditions. Guyana has a very vibrant history and was fought after by the Dutch and British.

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https://guyanachronicle.com/2019/12/15/the-government-needs-to-support-the-literary-and-dramatic-arts-part-ii/

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The Government needs to support the Literary and Dramatic Arts (Part II) - Guyana Chronicle

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JOHANN Wolfgang von Goethe pointed out that "The decline of literature indicates the decline of a nation." Once this is applied to the situation in Guyana -

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https://www.thingsguyana.com/the-untold-forgotten-stories-of-guyanese-indigenous-folklore/

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Guyanese culture is a magnificent, unique blend of cultures, similar to that of the Caribbean. The Amerindians, Europeans, African, Portuguese, East Indians and Chinese have all made a significant impact on our Guyanese folklore. However, it is believed that the Amerindians, Guyana's very first settlers, that dominate Guyanese literature and folklore. The Amerindians arrived in Guyana, bringing along their way of life, culture, foods which have been incorporated into Guyana's society and distinct culture. Amerindians, myths and legends are very popular; you may recognize the kanaima, and old Kai but there are numerously untold, and obscure stories. Read on to find out about the unpopular myths and legends of our indigenous people such as Makonaima, who is believed to be the creator of the Amerindian tribes, Tamosi, Amalivaca and Pia.

Who are the Amerindians?

The Amerindians are the very first group of people to venture to Guyana. As such, they are called the Indigenous people, meaning natives since they were here before the other ethnic groups arrived in Guyana. The Amerindians originated from Asia but left sometime around the fourth (4th) Ice Age. It is believed they followed the herds of buffalo, caribou and seals who changed feeding grounds. They crossed the legendary bridge made of ice called the Bering Strait, which has since melted to the body of water we know it as today. They passed through America, where some tribe chose to stay and remain as the native Americans or American Indians. Others journeyed further south, to Mexico and South America and planted their roots in countries like Guyana, while some chose to sail east, to the Caribbean islands.

See here for more information about our Indigenous People: https://www.thingsguyana.com/guyanas-first-settlers-the-amerindians/

There are nine (9) tribes of Indigenous people in Guyana; the Caribs (Kalingo), Arawaks (Lokono), Wapishana, and Warraus with the remaining tribes- Akawaios, Arecunas, Macusis, Patamona, Wai-Wai-being subtribes of the Caribs. The tribes share many similarities like their folklore, which is given the general name of Amerindian Folklore, which, however, does not originate from one particular tribe. They share many different mythologies. Simply put, a myth is a traditional story which typically is about the earliest history of a specific people. In most cases, it involves supernatural figures and events, which explains natural and social occurrences in the world.

Amerindian Mythology

Tamosi

Tamosi, is believed to be the god who created the Carib tribe. Tamosi, pronounced tah-moh-see means" the Ancient One" however, he is also called Tamosi Kabutana or Tamosi Kabo-Tano meaning " Ancient One of the Sky". He is also known as Sky-Chief, Old-Man-Sky, and Grandfather Sky. In the Arawak culture, Tamosi is known as Makunaima. There is no known description of Tamosi as he is not believed to be personified or having a physical body. It is believed Tamosi brough to life, a great tree, the likes of which has never been seen since. This may be the Tree of Life, important in many Amerindian cultures. Legend has it that Tamosi has never been seen by mortals.
Interesting Tip

There is a Jamaican company called Tamosi which produces alcohol.

The First People

This story is reproduced from: http://www.oocities.org/thetropics/shores/9253/legends3.html

In the beginning the Carib people lived in the bright land of the moon. And as they looked down upon the dark earth, they determined to descend and clean it amd make it like unto their moon country. Coming down on the clouds, they toiled mightily, but when they thought to return, behold, the clouds which had borne them, had disappeared from their sight. Vainly they called upon Tamosi Kabo-tano, the Ancient One on high, for there was no answer to their prayers.
As they wandered they became faint with hunger, and taking clay they made it into cakes, and baked them upon a fire of coals; but when this was done they found that clay cakes were not good for food. However, the Ancient one had not forsaken them, for they saw the birds eating of the fruits of the trees, and on eating these, they found them pleasant to the taste and good for food.

And after many days their souls loathed these wild fruits, and they said one to another, "Would that we had not left our homes in the land of the moon." The Ancient One heard their complaint, and created a great tree, such as had not been seen before, nor had come after it unto this day. Each branch bore a different fruit, while on the ground beneath the shadow thereof, grew plantains, bananas, maize, cassava, yam, potato, and all fruits of the earth which men now cultivate.

And it came to pass that Maipuri the tapir passed that way, and seeing the strange fruits, he tasted and beheld that they were very good. And the tapir, who had hitherto been a lean beast, became sleek and fat. Men saw the change, but Maipuri would not tell whence it came. So they sent the woodpecker to spy out his ways, but the foolish woodpecker, as was his wont, still tapped each old tree. And the tapir hearing this, departed another way.

Then men sent the rat who tracked the tapir's steps to the place, and partook of the fruits. Returning, he denied that he knew anything of the tapir's secret, but not many days afterwards he returned from his wanderings with food sticking to his lips, and men knew that he had lied to them. Forthwith they made him show his feeding place. Coming to the place they said, "praise be Tamosi Kabo-tana, who gives us such precious food." Then a voice was heard saying "Cut it down." In wonderment they took their stone axes to hew down the tree.

Ten months they labored, and at the end of the tenth month the great tree crashed to the ground. Then each man took cuttings from the branches, trunk and roots. Setting these in their fields, they sprang up and bore fruit, and so every man had food close to his own dwelling.

Amalivaca

Whereas Tamosi created the Cariban tribes, the demigod Amalivaca shaped the worlds for them and taught them how to live. Amalivcaca is also known as Sigoo or Sigu. He and his twin brother, Vochi, who help him in his work, are believed to be the sons of Tamosi.

The Story of Amalivaca

The story is reproduced from http://www.oocities.org/thetropics/shores/9253/legends3.html

And while the waters were returning from off the earth, Amalivaca came from a distant land in his large canoe. And from time to time he stopped to carve figures and mystical signs upon the rocks, which are still to be seen, though no man can interpret them.
Now when dry land was to be seen, it was found to be very rough, so Amalivaca made the sides of many hills smooth, and also the land st the foot thereof. And Amalivaca said, "men must have communication one with another, let each man make a clearing by the bank of the rivers, and the rivers shall bear you one to another." And Amalivaca taught them to make canoes. But certain men said to Amalivaca, "It is too hard a thing to paddle against the current, make the current to flow upwards on one side of the river."

Now Amalivaca toiled mightly, but for all of his skill he could not do this thing. Then Amalivaca thought about the sea, and he caused the tide to flow up the river many miles, as it does to this day. But the rivers said, "Should the tide go higher, all will be covered." So Amalivaca ceased from his labours, and departed from the land of the Caribs.

Makunaima and Pia

Makunaima and Pia are the twin sons of the Sun. They are heroes who spend their time getting rid of monsters. The word Pia means medicine man, which is suitable since Pia is hailed as the father of medicine. His name may be alternatively by spelt as Piai or Piai'ima.

Kanaima

The Kanaima is believed to be an evil spirit which gives people the ability to transform into a human or lizard hybrid. Some of the Caribs invite the Kanaima to possess them by using drugs or perform certain rituals.

Read our article on the Kanaima here: https://www.thingsguyana.com/kanaima-learn-why-you-should-be-afraid/

Literature based on Guyanese Amerindian Folklore

Most of Amerindian myths and legends are passed on verbally however there is some documentation of these rich folklores. These include many written works such as:

Guiana Legends (circa 1868) - Rev WH Brett

Legends and Myths of the Aboriginal Indians of British Guiana (1880) - Rev WH Brett (A retelling of his previous compilation)

Amerindian Legends of Guyana (1995) - Odeen Ishmael

Guyana Legends: Folktales of the Indigenous Amerindians (Kuwait, 2011) - Odeen Ishmael

Amerindian Folk Tales from the Carib-bean - Dorothy Bland St Aubyn

Folktales and Legends of Some Guyana Amerindians - Walter Edwards and HR Hubbard

Listed below are some Amerindian stories compiled by Walter E. Roth from his book An Inquiry into the Animism and Folk-Lore of the Guiana Indians:

Amerindian Folklore in Guyana

The Amerindians in Guyana continue to practice their culture, through dance, food and folklore. There is an annual observation during the month of September, which is also known as Amerindian Heritage Month in honour of our first people. It is usually this time when the culture of the Indigenous people is brought into the spotlight. A significant part of their culture involves myths and legends, passed on to younger generations. While the most popular of which are the Kanaima and Old Kai there are lesser-known but important Amerindian or Indigenous myths about Tamosi, Makunaima, Pia and Amalivaca. There may be variation in these stories, depending on which tribe of Amerindian tells the stories. As time passed, most of these stories were altered in some way, however, the key details remained unchanged in most myths.

Article References

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The Untold/Forgotten Stories of Guyanese Indigenous Folklore

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Guyanese culture is a magnificent, unique blend of cultures, similar to that of the Caribbean. The Amerindians, Europeans, African, Portuguese, East Indians and Chinese have all made a significant impact on our Guyanese folklore. However, it is believed that the Amerindians, Guyana's very first settlers, that dominate Guyanese literature and folklore.

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The steelpan is a musical instrument originating from Trinidad and Tobago. Steelpan musicians are called pannists.

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Amid the electronica of 20th Century music one new instrument stands out for its simplicity. The steel pan, possibly the only instrument made out of industrial waste, has become an icon of Trinidadian culture.

Hammered into the shiny metal surface is a series of dents. Each one creates a different note, subtly different from the ones around it, according to their position and size.

The steel pan, often referred to incorrectly as a steel drum, emerged in the 1930s. Metal objects including car parts, paint pots, dustbins, oil drums and biscuit tins, were originally used as percussion instruments, but at some point they began to be tuned.

"It was a slow process, everyone got together and invented the steel pan by using pots and pans and testing them out," says Sterling Betancourt, a Trinidadian panman who now lives in London.

"The sound and the notes came, but it wasn't like we thought about it."

Betancourt, 82, grew up in Laventille, a poor suburb just outside Port of Spain, said by many to be the birthplace of the steel pan.

"It was exciting, we knew we had something but we were just playing, it took time," he says.

The history of Trinidadian street music goes back centuries.

When French planters arrived in Trinidad in the late 1700s they brought with them a carnival tradition - and their slaves formed their own festival, fuelled by drum music.

After emancipation in 1834 the celebrations became noisier and more colourful, though after disturbances in 1881 the British government tried to ban the performers' sticks and drums.

What followed was the tamboo-bamboo - bamboo sticks cut for striking together and hammering against the ground.

But in 1934 the tamboo-bamboo was banned too.

This is when the steel pan came into its own.

"It really came from the bowels of our impoverished lower classes and we are extremely proud of that," says Michelle Huggins-Watts, a Trinidadian steel pan arranger.

"It helped bring the players recognition, it allowed them to travel and see the world, it brought opportunities they would never have had if they had not been involved in this art form."

Huggins-Watts is a rare thing. She is the only woman arranger to win the island's prestigious Panorama competition with her band, Valley Harps.

"It wasn't until the late 1970s or 80s that women even started playing the steel pan. It was a street instrument, it took a while to become respectable," she adds.

The pans used by the Valley Harps are made from old chemical containers now, they are more readily available than oil drums.

"They have to be very carefully cleaned so they are safe," she adds.

"Some pans are made from scratch, brand new, but that's a very new thing."

By 1951, Trinidad's new steel bands put forward their best players, including Betancourt, to join the Trinidad All Steel Percussion Orchestra for the Festival of Britain.

"We went over with our rusty pans. They weren't painted or chromed or anything - just dustbins," Betancourt says. "People didn't know what to expect, but they liked it. They said it was 'black magic'."

The music has been keenly adopted by the pop world. The Hollies used the sound of the steel pan in their song Carrie Anne, Prince used it in his song New Position, and 70s jazz-fusion band Spyro Gyra incorporated the sound of steel in Morning Dance.

"There is something about the steel pan and Caribbean music in general that resonates with the rest of the world," says Prof Tim Wall, a lecturer in radio and pop music studies at Birmingham City University.

"It's familiar, they play songs that we know, but it's also very exotic, and we like that."

It also sounds like holidays, and sunshine, which may explain some of its appeal.

"It can sometimes have a cruise ship mentality, people think of it as a happy summery sound from Trinidad and the Caribbean islands as a whole, but it is a lot more than that. It's got a very important history," adds Wall.

"Music builds community and acts as a form of communication. Looking back centuries ago, slaves had been stripped of their cultural identity, their names, their music, so they created new music using things they found lying around. That created that rich history of percussion music."

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Amid the electronica of 20th Century music one new instrument stands out for its simplicity - the steel pan, made out of metal waste.

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https://guyanachronicle.com/2018/07/08/style-evolution/

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Guyanese designers awarded for contribution to Caribbean fashion industry

FOR local designer, Quinton Pearson, apart from making his line House of Pearson a household name, one of his biggest dreams was meeting the First Lady of Guyana, H.E. Sandra Granger. On June 30, after showing his newest line 'House of Pearson Season Four' before a large audience in Silver Spring, Maryland, USA, at the 2018 Caribbean Style and Culture Awards and Fashion Showcase, Quinton's dream came true when he was presented with the Award of Excellence- Fashion Innovation by the First Lady herself.

Quinton was one of two local designers to be given that honour that night and, together, they joined a long list of Guyanese designers and models, who have been recognised for their contribution to the Caribbean fashion industry via the Caribbean Style and Culture Awards.

The First Lady, who made a special trip from Guyana just to attend the event, during her short remarks stated that it is very important to recognise the work that Guyanese and other Caribbean designers are doing to place the Caribbean on the map. She added that it was an honour to be at the event and that she, too, pledges her support to local designers- a fact that was proven in her own attire, having been adorned in a Pat Coates creation that evening.

In an interview with the Pepperpot Magazine, Quinton said that he was excited when he got the call that he was nominated to receive an award. "Immediately it inspired me to not only push harder and improve on my brand but also to step out of my comfort zone and aim higher for the future of House of Pearson and my team of hard working mates," he said.

He added that he sees such a platform as a brilliant initiative that encourages designers to keep going despite the challenges they may face in the seemingly slow industry. "Personally this experience has thought me a lot about myself and where my brand is at on a scale of one to 10 and that's a statistic that every designer should be aware of, in order to make effective changes and improvements if the main objective is to expand.

To all Caribbean Designers, I would definitely say that this is a wonderful platform to express yourself in the best way possible, learn from talented peers and professionals about how you can create a niche business in our fast evolving world of business and art," he said.

Quinton's Season Four collection combined signature designs from previous collections which were developed and modified along with new designs and trends to create a fresh new look for the Summer, but more than that, the designer stated that the collection signifies his determination and hard work. "As a young entrepreneur in Guyana, I have developed an attitude to respect my time and creative mind. Being a better me than I was the day before is my aim and focus in life. What truly matters is how we love and appreciate ourselves," he said. "This platform was perfect for my 2018 collection.

Because of the diverse audience, I had the opportunity to share my creativeness and passions with. This platform helped me to connect with so many different people from many corners of the earth. I was able to really capture the attention of everyone present because of the message my collection carried and it was well received."

In the coming months, Quinton will extend his collection which will be made available for sale to the public, but more than that, the young designer announced that he aims on launching House of Pearson's first menswear collection in September of this year.

DUO COLLECTION
Nadia Thomas Winter and Natalya Thomas of Duo Collection were also awarded the Award of Excellence-Fashion Innovation. Nadia was present at the event to receive their award

and to also showcase their new collection called 'Fusion'. "The collection is a resort wear collection. We were able to fuse tropical leaves as well as national landmarks in Guyana and a pop of bright colours into this collection. We wanted to promote our country's heritage and I think this platform was the best to showcase where it would be seen internationally," Nadia told the Pepperpot Magazine.

Nadia, who is based in the British Virgin Islands, said that she felt honoured to receive the award and that the initiative to award Caribbean designers, models and other fashion artists is "truly amazing". "The Caribbean has many many talents and this will definitely boost this industry. I would definitely encourage designers to apply ... this show is of class and it has been proven throughout the years. Designers are also able to showcase internationally bringing attention to the region," she said.

Going forward, Duo Collection is hoping to grow their line through increased sales and marketing throughout the region and internationally, but she stated that some challenges still remain, such as a lack of support for local designers as well as lack of shipping options to other countries. "My intention of overcoming these challenges is to bring back pride to our heritage by showcasing my designs with pride, class and a high standard which will be able to compete internationally. And seek ways to get products to clients throughout the region," she said.

This is the ninth year that the Caribbean Style and Culture and Fashion Showcase is being held. The event is held in honour of Caribbean American Heritage Month and seeks to honour the work of designers and models from across the Caribbean. Past recipients of awards from Guyana include Patricia Coates, Michelle Cole, Carol Frasier, Keisha Edwards, Sidney Francois, Andrew Harris, Olympia Small-Sonaram, Frank James, Roger Gary, Natasha Harper, Niketa Barker and many others.

This year's event saw a showcase of designers from Haiti, Guadeloupe, Jamaica, St Vincent & the Grenadines, Trinidad & Tobago and St Lucia. Awardees included models and Makeup Artists from the Caribbean as well.

As the Caribbean Style & Culture Awards & Fashion Showcase heads into its tenth year, the event will seek to expand its reach to include work from Caribbean photographers as well. Submissions for the 2019 show will begin in August of this year. Persons interested in becoming part of the journey can follow www.facebook.com/caribbeanstyleandcultureawards/ for more information.

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Guyanese designers awarded for contribution to Caribbean fashion industry FOR local designer, Quinton Pearson, apart from making his line House of Pearson a household name, one of his biggest dreams was meeting the First Lady of Guyana, H.E. Sandra Granger.

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https://jiriecaribbean.com/guyanas-traditional-dress/

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Guyana's culture shows influences from Africa, India, China, Portugal, the Netherlands, and the United Kingdom. Climate, occupation, and daily necessities, as well as religious ideas, customs, and tastes, all influence clothing. They have various dress codes for different occasions. This includes attire for school and work, as well as recreation, athletics, theatre, and religion. To get entry to the residence, visitors must be dressed suitably as government officials. During important events and celebrations, men and women wear traditional Guyana dress rules. Both men and women wear colorful headdresses and leg bands, as well as beaded necklaces and ear and nose ornaments, and the textiles are generally made of cotton or tibisiri fibers.

Turbans and wraps are worn by Afro-Guyanese women, whereas turbans and dashikis are worn by males. Amerindians typically wore loincloths for males and aprons made of cotton, tibisiri fiber, or beads for women. Their outfit is completed by a colorful headpiece, leg bands, necklaces, and ear and nose ornaments. The majority of Guyana's population follows the western dress code, but others stick to their traditional attire. These, on the other hand, might be regarded as a more Western version of Guyana's indigenous attire.

In Guyana, Hindu and Muslim women dress their bodies in a sari and a shalwar, and their heads are covered with an orhni. A dhoti and kurta are worn by Hindu males, while a jorah and tope are worn by Muslim men. Turbans and wraps are worn by Afro-Guyanese ladies, whereas turbans and dashikis are worn by males.

Many places in Guyana, including schools, sports groups, and companies, have dress rules. There is also a strict dress code that must be followed before entering any parliament or government building. Wearing exposing, brightly colored clothes or denim is prohibited. Shorts, track pants, sandals, and slippers are also prohibited in the House of Commons.

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Guyana's culture shows influences from Africa, India, China, Portugal, the Netherlands, and the United Kingdom. Climate, occupation, and daily necessities, as well as religious ideas, customs, and tastes, all influence clothing. They have various dress codes for different occasions. This includes attire for school and work, as well as recreation, athletics, theatre, and religion.

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https://www.instagram.com/guyanafashionshowcase/

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Guyana’s International Fashion extravaganza showcasing today’s upcoming fashions

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Kinds will play this, and if they win, they will get reward

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audio files (not English so using video files)

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audio files (not English so using video files)

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https://www.facebook.com/watch/?v=378969463352441

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https://www.lifebiodivom.fr/en/un-escape-game-a-la-fete-de-la-nature-en-guyane-le-labo-du-dr-merou/

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An Escape Game at the Fête de la Nature in Guyana: Dr Grouper’s Lab! - Life BioDiv’Om

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On Saturday October 2, GEPOG, in collaboration with the Ile du Grand-Connétable Nature Reserve, organized an Escape Game during the Fête de la Nature in order to raise public awareness of Guyanese marine species and their preservation. , including the Atlantic Goliath Grouper, an emblematic marine s…

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Their housing will commonly have stairs go to second floor and even third floor at the outside of the house.

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https://www.stabroeknews.com/2010/04/29/guyana-review/architecture-building-under-our-sun/

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This Rory Westmas article at least affords us a refreshing reflection on a time that was.
By Rory Westmaas "Now that we are becoming conscious of ourselves as a nation, reaching out in new directions, thrusting into the interior, environments different from that of the familiar coast will present new problems. The better bearing strengths of those soils will permit us to build tall buildings and cities as large as those in any other country of the world-should we need them and want it so."

There is a distinctive architecture of Guyana. It is to be seen in the many examples of timber domestic buildings for the most part in and around Georgetown. It is an architecture which has been derived from the many European States which at one time or another controlled the country. Ignoring the traditions of both the Amerindian and African slaves the settlers built in the styles existing at the time in their respective homelands; the resulting buildings nevertheless show the modifications in design and ornament dictated by the new climatic and environmental conditions as well as by the skills of the builders and their interpretations of the new ideas. Up to about forty years ago anyone asking a carpenter-contractor to erect a house would be given a building fashioned in the style now seen in the traditional house. This was done in many cases without a line being drawn on paper. Our domestic house building had long ago arrived at an accepted style. Many of these anonymous craftsmen builders had completely mastered the art of achieving composition in scale, massing and harmony and created buildings which were completely functional for their time and which are, even today, undeniably pleasing to the eye.

Argument on this point springs principally from our close familiarity with our building environment preventing us from seeing and respecting what we have accepted as commonplace. Secondly, the belief exists that the comparative impermanence of timber places it outside the meaning of the word Architecture -with a capital 'A'. Yet, no one would deny the use of the word Art to describe fine examples of say African wood carving. The real reason for argument at all would appear to be a refusal to accept the past. The danger of this attitude is that it usually engenders a refusal to accept responsibility for the present and for the future.
Origin of ideas
If we are to understand anything about our architectural situation, about our building environment we should try to trace the origins of the many ideas infused into the country. We should try to see how these ideas have come down to us, how they have become part of our expression and ultimately if they are capable of being developed. For such an exercise the history books can give us little help. Europe colonised with doubtful human material; one island for example was 'a dunghill whereon England doth cast forth its rubbish'. In any case in the early days there was a confused taking and retaking of territory with slaves, merchants, and privateers seeking pelf, power and patronage. Force was the judged between man and man, and if one was not the hammer then certainly he was the anvil. It was a time for action with only the ruins of men's avarice, hopes and dreams to chronicle the deeds.

The written record can provide some of the basic facts but the body of truth lies in the graves and in the tombs of those who lived and died under our sun. But the truth also lies in the foundations, in the buildings, in the things those people made and in our names, place-names and language. With these clues and basic facts we must try to understand our past and our progress.

Spanish influence negligible
From the year 1498 when first Columbus sighted the coast of Guyana, Spanish and Portuguese fortune hunters began the search for El Dorado and Lake Parima believed to have shores of golden sand. These expeditions appeared to do nothing but guarantee the hostility of the Indians. There is mention of Spanish or Portuguese raids early in the 17th century and of the arrival of Portuguese Jews from Brazil colonising an area in the Pomeroon round about 1660, but certainly, at the beginning of the 17th century Guyana appears to have been free from the Portuguese or Spanish.

The architecture of Spain had already moved into the renaissance style by the middle of the sixteenth century and when the colonies were ceded to the Dutch in 1669 the style in Spain had begun to 'decline' into a Baroque. It is highly improbable that much in the way of architectural ideas has come down to us from the Spanish. Certainly there were Spanish attacks on other settlements but there is mention of little else.

Possibility of Portuguese influence
What little early activity there was on the part of the Portuguese appears to have left us nothing. The word verandah is given as Portuguese. If the idea for the verandah-one of the most delightlful features of the early traditional house-is theirs it would have come from a time after their arrival as agricultural labourers in 1840 and after they had amassed enough wealth to become the owners of 'the best houses in every village'.

The possibility exists that they were the source of the richness of detailing which the traditional house carries-the fretwork panels over the entrance doors, gallery window-heads, the spandrels in the angles of timber 'arches' to the drawing room and on porches. The Moors it must be remembered had dominated the Iberian peninsula for 800 years which ended with their expulsion only in 1492. In these years the skill of the Moor craftsmen had established itself in the architecture of both Spain and Portugal. The Muslim religion did not accept natural forms in ornament- geometrical patterns in pierced stonework and intricate surface decoration were the order of the day.
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Mixed influences on development of verandah
While some verandahs still show this decoration others reflect the more formal, clean lines of Georgian influence.

With the enclosure of the verandah mentioned later the decorative spandrel brackets sometimes used at the external column heads had to go only to re-appear on the porch.

It is difficult to ascribe the verandah to any one people; the name may have caught on but the element itself must have existed before the Portuguese arrived from Madeira. The decorative spandrels on the other hand, as mentioned later, can be seen as an interpretation in timber of a cast-iron detail-a little bit of Victorian exuberance.

Effects of slavery on house planning
In the beginning the condition of slavery in the New World meant living in cheap quickly constructed "cabaans", cells, huts or ranges which were little more than shelters, more or less congested, as density increased or decreased. These were constructed on mud sills which were notched to receive wall studs. The walls would have consisted of "wattle and daub" or were lathed to take wallaba shingles. The floor would be of packed and polished mud or of timber. The range, depending on its size, would have a simple double-pitched roof of coupled rafters, couple-closed rafters or rafters with collars and would be covered with either palm leaves or shingle on lathes. Windows, either top hung or side hung, would be of the solid wooden shutter type. The hut or range in the first place would have no kitchen or area for food storage. Breakfast served in the field came from communal kitchens.

The law prohibited slaves owning their own huts and cheap and easy importation of more slaves as required did nothing to encourage marriage-both factors making an early mark on the planning of the Guyanese house. A people build with what they have. The first clearing of the coastlands provided an abundance of good timber-a material with which the slaves were well acquainted so that not only were the standardised plantation buildings constructed of timber, so were all buildings in the town as well. Bridges, vats, wharves, furniture, carts and even roads were built in timber.

The settlers interpreted their native styles in timber and the free black people in turn imitated them on a smaller scale.

Slaves and ships
The life of the colonies depended on two things: slaves and ships. Slaves to produce cotton, coffee and sugar; ships to transport them to Europe. The sailing ships in turn played a great part in bringing not only the much needed supplies for general use, they brought also in ballast, bricks and slates for the plantation ovens and for building, ice from the American lakes and later a variety of cast iron building components. This exchange of materials in the case of refractive bricks, for example, continues even today.

Certainly the settlers, probably the Dutch, must have organised brick manufacture here: the name Brickory attests to this fact but even with the abundance of good brick clay and with skilled slave and free brick-layers, timber proved more economical and building in. brick never really caught on. The many examples of brick culverts, sluice supports, and brick chimneys as at Chateau Margot attest to the skill of the craftsmen but it is more likely that the poor bearing capacity of the compressible coastal soils militated against heavier brick buildings.

Geography, the overriding influence
In 1668 Guyana and Suriname were ceded to the Dutch; for a short period in 1781 Guyana was held by the British to be captured and held by the French the next year until 1802 when it was restored to the Dutch who also held it for one year. In 1803 the British once more gained possession and remained in control until independence in 1966. However, over-riding all these influences were the ever-present hot, humid rain forest conditions on a coastland set below sea level. The impermeable clay soils, heavy rainfall and frequent floods demanded a floor raised above flood level. The floor had then to be suspended and approached by a short flight of steps.

The raised small house provided an area underneath for sheltering domestic animals. In the town:- first Longchamps from the French, renamed Stabroek by the Dutch, then Georgetown by the English-before the advent of good supply stores, the larger houses on pillars often had part of the ground floor enclosed to form a store room. This would also be the case in outlying districts where transportation was a difficulty. Later, after the abolition of slavery, the bottom house or ground floor areas were extended to provide accommodation for servants and family retainers.

The coastal Amerindians -the Warraus and Guaranos- at that time living in these swampy areas had already learned how to build their houses in trees. They cut trees to a height of five or six feet from the ground and built platforms on the tree trunks above the level of the flood waters.

Growth of domestic house
The abolition of slavery gave former slaves the chance to build and own houses and it is probably from this time that we can trace the growth of the domestic house in fairly simple stages by a process of adding on to a 'body-house'. Before 1833 and even before 1574 the buildings owned by free Africans, it can be assumed, would have shown development also by this process. Where family life was accepted as normal and feeding became a more personal matter the kitchen made its appearance outside the hut, detached, to one side and at the foot of the stairs. The kitchen or fireplace was in itself merely a raised platform or tablelike structure with a roof and three sides to protect the pot and charcoal or wood fire from the wind and rain. The house or 'body-house' meanwhile would have to be split in half to form a bedroom and a living room in order to provide privacy and the separation of function demanded by the more stable domestic life. Sanitary conveniences, of course, would still be the cesspit and outhouse. Water was brought to the dwelling in pails or buckets from a central rainwater catchment tank or from a creek or freshwater canal. This would supplement the supply of rainwater collected from their own pitched roofs. Bathing would require a small cubicle probably adjacent to the outhouse.

The door being a Dutch barn type door would provide adequate ventilation even with the bottom half closed but by moving the steps to one side another window could be cut in the living room wall.

The verandah and kitchen
The fierceness of the sun demanded that shade be provided and this was achieved by the addition of an open, covered verandah in front of the house. It is possible that at about this stage the house acquired a back and a front with the verandah or open porch on the front and the kitchen being moved to the foot of the back stairs. The orientation of the building to catch the North-Easterlies now mattered more than ever. The verandah formed a useful outdoor projection of the living room though it was often extended the full width of the house. For the purpose of simplifying the development of the traditional house let us assume that the next stage involved the addition of a back gallery or verandah along the whole length of the house, suggesting new 'wealth' and a growing family. The need for additional accommodation would then be a simple matter of enclosing the one end of the back gallery to form another bedroom; the remaining half becoming the dining room; the 'kitchen' meanwhile would either remain a few feet down or be raised to floor level as an extension off the back gallery. The original location of the kitchen away from the house determined as a consequence of mass feeding and thrown in as 'backshish' so to speak, seems to have been confirmed by another factor. The need for adequate safety measures against the incidence and spread of fire in timber buildings baked dry in long hours of harsh sunshine was met to a great extent, in the free standing kitchen.

In the event of a flare-up the kitchen could easily be pushed over away from the house and a new one built in a very short time.

The need for yet more accommodation produced a house which had a front gallery or verandah; a 'body house', with the main bedroom in the one half and withdrawing room occupying the other; a back gallery enclosed to give another bedroom and a dining area; a back landing on which was located the toilet and shower cubicle and off this the kitchen.

The porch and staircase
The front balustraded verandah was often enclosed for privacy but where this was done it provided an unsatisfactory approach for the stairs and so it was found necessary to build on another open balustraded covered landing or porch. The staircase in the traditional house has always remained an open or outside staircase. Springing from one or more concrete steps at the base and with red handrails, turned balusters and strings painted white, this element of building was, and is still, very attractive. Their weakness lay in the fact that the joints, exposed to the heavy rainfall, were kept warm and moist, ideal for termites or dry rot or just natural decay. The porch was often a highly decorated feature and in typical renaissance style, with its simple double-pitched roof projecting from the gallery roof and with its staircase as described, occupied the central position on the front elevation. With the enclosing of the verandah the porch became a sitting out area and as such had to be a good size.

In the poorer houses the kitchen, a small addition at back landing level, often had a projection outward at window sill height- the 'cow-mouth' or 'cow-nose' in which would be placed the oven or coal pot. It was as if the landing was enclosed to meet an already standing fireplace described earlier. In those houses where the wood burning Dover stove could be afforded it was placed on a three inch concrete base cast on top of the timber floor. The floor, constructed of greenheart or mora boards with open joints facilitated cleaning and ventilation. Cleaning especially of the kitchen floor was usually a matter of scrubbing with water and metal scraper, a method which soon left nailheads sticking up above the timber. The Dover stove produced a great amount of smoke. For this reason the landing space between the kitchen and the back gallery was often latticed to give cross ventilation but the stove required also a chimney. This was made out of galvanised iron flat sheeting and was an arrangement of two or three six-inch diameter cylinders. Complete with rodding eye, soot trap and rain-hood, it projected upwards from the back of the stove and passed through the wall usually made of corrugated galvanised iron for the area around the stove. Both this wall and the concrete base were required to meet the demands of fire regulations.

The wholesome respect for fire already mentioned was actually written into a form of building regulation by the French who were the first to set out any town planning regulations. They stipulated for instance that thatched roofs-really troolie, ite palm or coconut should not be used; foundations were to be of brick while the kitchen was to be an independent structure. An example of this can be seen in the kitchen of the Park Hotel which is constructed of brick complete with vent holes and circular openings to accept the metal chimneys.

Dutch influence on our way of living
But while the French may have made attempts at planning, the far greater influence on our actual way of life resulted from the Dutch occupancy. The Dutch tackled the problems of drainage and irrigation or extended what had already been laid down. They built sluices, kokers and dams to keep out the tidal waters of the rivers and sea and to control the internal water; they established workshops as at de Winkel in New Amsterdam where the slaves were trained in those skills required in the plantation factories and towns. The land was measured in Rhinen roods and was set out in lots-plantations originally being given a width of 100 roods, and a depth of 900. House lots of 5 roods (61.78 ft). width were common practice. Many of the house lots in Queenstown still remain at a width of 5 roods. The Dutch lots were of a good size and of course permitted a better design of buildings. Georgetown has developed on old plantation land and a few of the old estate managers' houses still exist. The essentials of the plantation drainage systems were retained as drainage canals and these, planted with Victoria Regia, with roads and grass verges on either side, gave a sense of spaciousness to the town, some North to South avenues being more than 100 feet wide from fence to fence.

The Dutch apparently believed that there was plenty of land for everyone. This attitude gave us the basis for a well laid out city. The land was flat and so there was no question of terrace farming on the plantations. These were set out in rectangular blocks with only the river frontages varying; nor was there any question of contour planning in the towns. Stabroek, later Georgetown, received a grid-iron plan which was an extension of the rectangular layouts of the plantations upon which the city grew.

At this point it might be as well to examine the architectural style prevailing in Holland in the seventeenth century. The style can be described as a Dutch Palladian Renaissance becoming more austere towards the turn of the century and retaining plain or reserved exteriors in the eighteenth century. Palladio, it should be said, was a sixteenth century Italian architect who systematised the detailing of Classical architecture. His books and ideas spread into most European countries and had an effect on the Renaissance movement in those countries.
Reprinted from Co-op Republic Guyana 1970
To be continued

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Architecture...Building under our sun - Stabroek News

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This Rory Westmas article at least affords us a refreshing reflection on a time that was.

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https://reurl.cc/Lp3Rka

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Title: What is African dance? - Stabroek News

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https://www.youtube.com/watch?v=W_UESv7iRLo

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Guyana Folk Songs - Bing serrao and the ramblers

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https://newsroom.gy/2021/11/10/guyanas-hosting-of-carifta-games-shifted-to-2023/

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Guyana’s hosting of CARIFTA Games shifted to 2023

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Guyana has agreed to host the CARIFTA Track and Field Championships in 2023 instead of the initial scheduled of 2022.Following the cancellation of the CARIFTA Games in Bermuda earlier this year because of the COVID-19 pandemic, Jamaica is in line to

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https://www.youtube.com/playlist?list=PL9n_HmjpZPH2CoUhuqYUiFlW3Zgs6kQSj

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Share your videos with friends, family, and the world

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https://www.youtube.com/watch?v=PIzYitoKjwI
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Shanto is a type of Guyanese music that is also related to calypso

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http://worldlyrise.blogspot.com/2015/01/guyana-music-and-dance.html

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The music of Guyana is a reflection of its people and its environment. Not surprisingly, the music here has a strong Caribbean flair but also heavily mixed with Latin and Brazilian as well as Indian music.

Because of its location, Guyanese music is very much influenced by some of the styles from Trinidad and Tobago. Calypso music is a fairly popular genre in Guyana, and relies heavily on the lyrics, mostly satirical in nature. Generally the lyrics to many of the calypso songs are sung in English and Hindi. Another style borrowed from Trinidad is called chutney-soca. This particular styles combines soca music with styles from India and utilizes certain Indian instruments such as the dholak and dhantal. Like Guyanese calypso, the lyrics are also sung in English and Hindi. Likewise, steel drum bands are also pretty popular in Guyana as well.

Shanto is a type of Guyanese music that is also related to calypso and another style known as mento (a type of Jamaican folk music that was the predecessor of reggae and ska). Shanto music, often accompanied by a guitar, is most often performed in vaudeville shows, characterized by its light-hearted lyrics.

There are many dances of African origin that were brought over to Guyana. The Kwe-Kwe event is a pre-marriage ceremony involving a lot of singing and dancing and borrowed from many of these traditions. It's mostly seen in the Afro-Guyanese communities, and the songs are sung in Guyanese Creole. Both music and dance are intertwined in this famous ceremony. From what I can tell from this video, women dance in a circle with subtle movements while singing. There is one person in the middle with a variety of (possibly sacred?) items on a mat.

I actually found a lot of Guyanese music on Spotify: some old, some new. There were several albums/artists listed who performed calypso and other styles.Most of the music is sung in English. Bing Serrão and the Ramblers have a very Latin Caribbean sound.Most of the lyrics are either love songs or about Guyana. Aubrey Cummings is one of the most famous Guyanese musicians. He has been involved with many bands in the past as well as his own solo work.

Yoruba Singers sing mostly in Creole from what I can tell. Also highly influenced in calypso and similar Caribbean styles, the music often features a lead singer with backup singers in response, a style often utilized in African music.

In listening to the music of today, a lot of what I found was highly upbeat dance music that seemed to be a cross between Bollywood and reggae or dancehall. Two artists who fall into this category are Terry Gajraj and Ravi B. As a general fan of Bollywood style music and dancehall, I really liked it. Eddy Grant is a reggae musician who also has a few songs that I liked.

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The music of Guyana is a reflection of its people and its environment. Not surprisingly, the music here has a strong Caribbean flair but also heavily mixed with Latin and Brazilian as well as Indian music. Because of its location, Guyanese music is very much influenced by some of the styles from Trinidad and Tobago.

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http://worldlyrise.blogspot.com/2015/01/guyana-art-and-literature.html

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Guyanese art has a strong influence from Amerindian traditions. Their diverse population is also integrated into the visual arts field here as well. After Guyana gained independence, many artists chose to study abroad, either in Britain, the United States, or other places. And after these artists graduated, it was pretty common for them to come back to Guyana. As they studied in Europe and North America, it opened their eyes to the world. They no longer had to paint in the styles of the colonial days. Artists were now free to stretch the boundaries of what they could paint, and often looked to their national identity for inspiration.

The vast majority of literature from Guyana is written in English. It includes literature from authors who currently live in or lived most of their life in Guyana and authors who emigrated to other countries to live.

One of the first authors to write about Guyana was Sir Walter Raleigh. He was a British explorer, among other things. While traveling to this area during the late 1500s, he wrote a book about his experiences. Typically referred to as the The Discovery of Guiana, the actual title is T he Discoverie of the Large, Rich, and Beautiful Empyre of Guiana (With a Relation of the Great and Golden Citie of Manoa (Which the Spanyards call El Dorado) and of the Provinces of Emeria, Aromaia, Amapaia, and Other Countries, with Their Riulers, Adjoyning. Say that three times fast. I believe it may have won the Longest Title Award of 1596.

The 1950s-1970s brought forth the first wave of famous authors and poets: E.R. Brathwaite (author, most famous for his autobiographical novel To Sir, With Love, which was later made into a movie starring Sidney Poitier), Wilson Harris (poet, novelist, essayist; characterized by his abstract and metaphorical writing), Jan Carew (novelist, playwright, poet, educator), Roy Heath (novelist), Martin Carter (considered Guyana's greatest poet by many), Walter Rodney (intellectual and historian), and Michael Gilkes (dramatist, filmmaker, educator).

(By the way, I think David Dabydeen looks an awful lot like A.R. Rahman, the Indian composer and producer. What do you think?)

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Guyanese art has a strong influence from Amerindian traditions. Their diverse population is also integrated into the visual arts field here as well. After Guyana gained independence, many artists chose to study abroad, either in Britain, the United States, or other places. And after these artists graduated, it was pretty common for them to come back to Guyana.

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https://www.stabroeknews.com/2015/06/07/sunday/arts-on-sunday/guyanese-art/

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What is Guyanese Art? To what extent can this be answered by the exhibition 'Abs-tract Art in the National Collection currently on show at the National Gallery, Castellani House? Just how difficult is it to decide what constitutes a national art? The work is never going to be homogenous, and quite rightly so; therefore can this be satisfactorily identified in Guyana when the artists are so different?

Last week we analysed issues regarding national literature, and touched on what criteria may be used and what rejected in arriving at what is Guyanese Literature. Just like the artists, all writers do not do the same thing either. Hallelujah! But we talk about Guyanese literature without hesitation, and might even be able to define it. The national Independence Anniversary always offers an opportunity for highlighting or celebrating Guyanese Literature, and that will be even more glorified when the 50th Anniversary arrives.

In the same way, it will be apposite to give equal consideration to Guyanese Art, if it is possible to decide whether it exists and what it may be. Indeed, the ongoing exhibition 'Abstract Art in the National Collection has been mounted and promoted as "celebrating the 49th Anniversary of Independence of the Republic of Guyana." It also celebrates International Museums Day 2015 - 'Museums for a Sustainable Society.' It continues the tradition at Castellani House where for many years the Curator has shown selections from the National Collection according to a theme each year, featuring both Pre-Independence and Post-Independence Guyanese Art.

But now the glib use of that term has been called into question. Some leading artists say that you cannot talk about Guyanese Art; it is more accurate to say art in Guyana, because what exactly are you going to identify as Guyanese art? Which pieces and which artists, which body of work can you single out as representing this? They argue that there are strong claimants - there is the Lokono art, but there are the Moschettes and the Greaveses, which are you going to choose? All the artists do different things, produce different 'schools' and 'movements' in addition to their individual preoccupations, and this makes it very difficult to identify what is the national art.

Haiti - a country where national arts are soon to be exhibited in Carifesta XII - has been called up as a witness. It is argued that Haitian Art stands out and is famously easily identified; it has a quality and identity that marks it right away as Haitian. It is true that Haitian art has a quality that goes deep, and that enriches it and gives it great appeal - that is the prominent use of the traditional and the strong African spirituality that have survived in that country. But one has to be careful about thinking that every Haitian sculptor or painter produces the same work. They do not. One needs also to remember the strong pull of the tourism market and the demand for a particular brand of art. One needs, in addition, to be aware of typifying individual artists and stereotyping a national work.

Alim Hosein and Ohene Koama introduce the 'Abstract Art' collection with reference to the way the nation's anniversary relates to demonstrations of its art. "The theme of independence in the air turns our attention to independent-thinking artists whose works add a special dimension to the national collection." (From the article 'Independent Pathway', Exhibition Catalogue, May 28, 2015) They acknowledge the early Guianese artists "mostly landscape painters who pursued the Romantic and Impressionist styles of the late 19th Century to early 20th century." They refer to the way Guyana's art "has retained a figurative character throughout its history" and "how interested our artists are in concretely depicting the life around them. We see this in painting, for example, where it reaches a high point in the photo-realistic images of Carl Anderson." It is also there in Winslow Craig's "life-like depiction of animal and human bodies . . . Bernadette Persaud's lush paintings of the Botanical Gardens and the paintings of countless scenes of Guyana by other artists [which] depict the country's flora."

Truly, landscape painting and realistic - even photo-realistic works are major features of Guyanese Pre-Independence art, and it has also persisted in the decades after. Craig and Persaud are prominent among contemporary Post-Independence artists and they have their own thematic and stylistic pursuits. While one can identify important general characteristics about the work of the artists as a whole, there are several areas of differences among independent-thinking artists, who, nevertheless add "special dimensions to the National Collection" and to Guyanese art.

Yet, Hosein and Koama observe that even figuration itself is treated in different styles, that there have been major movements towards abstract art among the artists and that "this approach is by no means a recent development in Guyana. Our artists have been producing work in an abstract vein since the late 1950s." They then identify a factor that has been a major shaper of art in Guyana if one is trying to see national characteristics. That is "the search for a sense of self." The way they put it, "As a former colonial people, many Guyanese look for a self-definition that is more real to us."

The development of Guyanese literature is not far away from that. The 1930s saw major cultural movements in search of self-definition among people conscious of their Indianness and Africanness which carried over into the way the literature developed. In the art such ethnic consciousness has played a part, not necessarily in the same era. After the Working People's Art Class, it developed among some of its students notably Philip Moore and people he influenced such as Omowale Lumumba and Gary Thomas who developed interest in 'roots' and African ancestry. The subtle strains may be identified in Stanley Greaves's deep interest in intuition and folk. There was the major rising of Lokono artists in the late 1980s and the much more recent Indian preoccupations seen in Bernadette Persaud and Philbert Gajadhar. These are significant veins in the national art.

In this year's Independence exhibition there is an abundance of diversity and independent thinking. Yet in several instances independent preoccupations are parts of larger movements in the art of the nation. Let us take landscape, for instance, which is major, as was previously mentioned. The artists approach landscape in many different ways, even in the abstract art of Cletus Henriques, for example. His Roraima (1968) represents the way the landscape, the awesome interior and definitions of the "Dear Land of Guyana" (the title of a previous Independence exhibition) which surrounds the artist is represented in forms of abstraction. This is also the case in Dudley Charles' River Spirit (1985).

While selections from George Simon are few in this show, they loom large, not only in the exhibition hall, but in the national art. Tree Root (2013) may be placed alongside the Charles and the Henriques mentioned above, except it is part of a more recent and more impactful development. The rise of Lokono art was an extremely important development in Guyanese art, starting in the very late 1980s but announcing its arrival with heavy seismic proportions in the 1990s with the emergence of the group Simon taught in St Cuthbert's Mission. Simon's work has been a step ahead of those in his bold adventures into the avant-garde, into post-modernistic excursions in a merger of traditions and styles. Homage to Wilson Harris: Secret Ladder #3 (2012) delves into the interior landscape in the abstract fashion comparable to Harris in literature. It is an example of the outer frontiers reached in Amerindian art - the Amerindian consciousness in Guyanese art.

Although Oswald Hussein was preceded by Simon, who is his brother, in ascendancy in national art, it was his meteoric explosion in the late 1980s that heralded the Lokono rising. The other sculptors who followed his innovations in ethnic spiritualism came to public notice in that very famous ground-breaking exhibition at the Venezuelan Cultural Centre (Six Lokono Artists). Hussein's work in this exhibition, Wegeliy, (1993) in particular, and Bush Hunter (2013) demonstrate his abstract representations of forest spirits and animals out of the Amerindian consciousness. His place in Guyanese sculpture equals his brother's in Guyanese painting. They are individuals, but contribute to an important component of the national art.

Included in the art of the Guyanese nation is that work led by Simon and Hussein which speaks to national heritage; but this heritage in the national art is not only work by Amerindians. Donald Locke's Indian Shooting Fish (1967) while not going as deep as the Lokono, reflects the environment that is now important in the art. His Abstract Rice Fields (1967) does in abstract art what Hosein says the realists do in "depicting the life around them." Of course the Aubrey Williams extensive suite of paintings rooted in the Amerindian motifs and the Timehri petroglyphs is well known, and these are a part of the abstract work based on heritage. (See Arawak IV, 1972 and Timehri Rock Drawing, nd, in this exhibition).

Greaves' Cock of the Rock (1971) joins those works and is evidence of that artist's diversification in his paintings and sculpture. Ron Savory's Bowman (1967) fits in the category of the heritage, as does Parboo Singh's Untitled (nd), but Savory's piece also belongs to his extensive explorations of interior landscape and the world of the porkknockers.

A perusal of this exhibition is evidence that there is a Guyanese Art. One continues to be grateful for the lack of homogeneity, but rejoices at the powerful statements made about the art of a nation. Clearly the painters and sculptors pursue independent ideas but there are definite demonstrations that this art in Guyana has within it several pieces that exhibit what constitutes Guyanese Art. To a large extent, Guyanese art is what the artists are and have been doing. It may be defined by the different major 'movements' and 'schools' that have happened to evolve within it.

About the art, Hosein concludes, "the intellectual contribution this has made to Guyana's independence is considerable and not yet fully realised or explored." He refers to the way writers such as Harris and Martin Carter defined Guyanese literature. The "local creators . . . wished to express themselves as Guyanese. Like Carter, they 'would shout it out differently/if it could be sounded plain.' Abstractionism in Guyanese art, therefore, while it may be related to the modernist movements in Europe that started in the mid-nineteenth century, also has definite roots in the Guyanese psyche."

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What is Guyanese Art? To what extent can this be answered by the exhibition 'Abs-tract Art in the National Collection currently on show at the National Gallery, Castellani House? Just how difficult is it to decide what constitutes a national art?

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https://www.guyanatimesinternational.com/sculptures-from-national-collection-on-show-at-castellani-house/

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Arawak and Carib crafts are sold in markets throughout the country. Their brightly coloured textiles, paintings, and intricate baskets are also popular exports.

Guyanese writers have made noteworthy contributions to literature. The works of Wilson Harris, Edgar Mittelhölzer, Walter Rodney, and A.J. Seymour are among the foremost. The best known of them, E.R. Braithwaite, settled in London in the 1950s, and it was there that he wrote his best-selling novel To Sir, with Love (1959), which told of a Guyanese schoolteacher's adventures in a tough London East End high school. (The movie version [1967] stars Sidney Poitier.) Like Braithwaite, many other 20th-century Guyanese writers emigrated, especially to the United States and England.

Many of Guyana's leading musicians also have established large followings in the country's expatriate communities, particularly in London and New York City. Among these artists are Eddie Hooper, Rita Forrester, Lord Canary, Johnny Braff, and Dave Martins of the Tradewinds, a group that was influential in England's 2-Tone and ska revivals of the late 1970s. See Sidebar: 2-Tone Records.

Cultural institutions

Cultural institutions are concentrated in Georgetown. The city's Guyana Museum includes the Guyana Zoo, which has an impressive collection of animals, including harpy eagles and manatees. The Walter Roth Museum of Anthropology, also in the capital, contains artifacts of the country's various indigenous cultures. The Guyanese Heritage Museum in Kastev houses a collection of 18th- and 19th-century Guyanese maps, coins, and books. The Rupununi Weavers Society Museum is situated near the town of Lethem on the Brazilian border; it displays textiles made by the Wapisiana and Macusí groups.

Sports and recreation

The Guyanese share the passion for cricket that is prevalent throughout the English-speaking Caribbean. Association football (soccer), basketball, boxing, and table tennis also are played, and squash has gained a following. Guyanese athletes' first Olympic appearance was at the 1948 Games in London, where they represented British Guiana. Guyana participated as a newly independent country in 1968 at the Mexico City Olympics.

The country's lush landscape and abundant fauna provide many outdoor activities, including fishing and hunting. Bird-watching is particularly popular at Lethem. Hiking and rafting are enjoyed, and swimming in freshwater creeks has some popularity, particularly in the savanna regions. Much recreational activity is based upon the festivities that accompany Hindu, Muslim, and Christian holidays.

Media and publishing

Freedom of the press has yet to take hold fully in Guyana. The government controlled nearly all local news media, radio, and the single daily newspaper, the Guyana Chronicle, until 2001. Other print media include the PNC's New Nation, the PPP's Mirror, and the independent Stabroek News and Kaieteur News. In 1988 Guyana's first television station was established under government control. By 2001 more than a dozen television stations were operating under government license, and a handful of private stations provided U.S. programming.

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Guyana - Guyana - The arts: Arawak and Carib crafts are sold in markets throughout the country. Their brightly coloured textiles, paintings, and intricate baskets are also popular exports. Guyanese writers have made noteworthy contributions to literature. The works of Wilson Harris, Edgar Mittelhölzer, Walter Rodney, and A.J.

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https://jiriecaribbean.com/guyanas-traditional-dress/
Guyana’s culture shows influences from Africa, India, China, Portugal, the Netherlands, and the United Kingdom

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Guyana's culture shows influences from Africa, India, China, Portugal, the Netherlands, and the United Kingdom. Climate, occupation, and daily necessities, as well as religious ideas, customs, and tastes, all influence clothing. They have various dress codes for different occasions. This includes attire for school and work, as well as recreation, athletics, theatre, and religion. To get entry to the residence, visitors must be dressed suitably as government officials. During important events and celebrations, men and women wear traditional Guyana dress rules. Both men and women wear colorful headdresses and leg bands, as well as beaded necklaces and ear and nose ornaments, and the textiles are generally made of cotton or tibisiri fibers.

Turbans and wraps are worn by Afro-Guyanese women, whereas turbans and dashikis are worn by males. Amerindians typically wore loincloths for males and aprons made of cotton, tibisiri fiber, or beads for women. Their outfit is completed by a colorful headpiece, leg bands, necklaces, and ear and nose ornaments. The majority of Guyana's population follows the western dress code, but others stick to their traditional attire. These, on the other hand, might be regarded as a more Western version of Guyana's indigenous attire.

In Guyana, Hindu and Muslim women dress their bodies in a sari and a shalwar, and their heads are covered with an orhni. A dhoti and kurta are worn by Hindu males, while a jorah and tope are worn by Muslim men. Turbans and wraps are worn by Afro-Guyanese ladies, whereas turbans and dashikis are worn by males.

Many places in Guyana, including schools, sports groups, and companies, have dress rules. There is also a strict dress code that must be followed before entering any parliament or government building. Wearing exposing, brightly colored clothes or denim is prohibited. Shorts, track pants, sandals, and slippers are also prohibited in the House of Commons.

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Guyana's culture shows influences from Africa, India, China, Portugal, the Netherlands, and the United Kingdom. Climate, occupation, and daily necessities, as well as religious ideas, customs, and tastes, all influence clothing. They have various dress codes for different occasions. This includes attire for school and work, as well as recreation, athletics, theatre, and religion.

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Folds

Food

Music

Traditional market

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Dance                   Festival                   Architecture

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Drama                   Sports                Games

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Fashion

Art

Poetry

Language

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https://www.topendsports.com/world/countries/guyana.htm

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Guyana, officially referred to as the Co-operative Republic of Guyana, is located in the northern part of South America. In this part of the world, cricket is considered as the most popular sport.

Guyana also loves playing softball cricket or beach cricket and football. Field hockey, rounders, netball, lawn tennis, table tennis, basketball, squash, boxing, horse racing and rugby are also played in the country. Guyana had also hosted a few international cricket matches in 2007 as part of the Cricket World Cup. They have a 15, 000 seater stadium, called the Providence Stadium, built specifically for hosting sporting events like the Cricket World Cup. Guyana is also a member of CONCACAF (football) and has five horse racing courses.

Sports is an integral part of the Guyanese culture which is why they have produced their fair share of internationally recognized athletes like like Michael Anthony Parris who is an Olympic medalist, Andrew "Sixhead" Lewis, Wayne "Big Truck" Braithwaite and "Vicious" Vivian Harris, all of whom are world title holders in boxing and probably the most recognizable figure in Guyanese female boxing, Gwendolyn " Stealth Bomber" O'Neil. Guyana has also been investing heavily into football and is growing in popularity. Most of spectators are willing to go along with their favorite teams even when they play out of town.

Below are details of sports, sporting events and sports people related to Guyana.

Popular sports of Guyana

Cricket, Football (Soccer), Field hockey, rounders, netball, lawn tennis, table tennis, basketball, squash, boxing, horse racing and rugby

Guyana's Sporting Success

Athletes from Guyana

Michael Anthony Parris (boxing)

Guyana Sports trivia

Guyana compete in world cricket as part of the West Indies

Guyana at major events

Past sporting events hosted in Guyana

Upcoming sporting events in Guyana

Annual sporting events held in Guyana

Sporting Facilities in Guyana

Is there something missing? If you know of something that should be listed here, please let me know.

Related Pages

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Guyana, officially referred to as the Co-operative Republic of Guyana, is located in the northern part of South America. In this part of the world, cricket is considered as the most popular sport. Guyana also loves playing softball cricket or beach cricket and football.

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https://www.kaieteurnewsonline.com/2020/06/21/mike-parris-the-unsung-hero-guyanas-lone-olympic-medalist-in-40-years/

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Mike Parris.... the unsung Hero Guyana's lone Olympic Medalist in 40 years
By Sean Devers
This is the story of 72-year-old Micheal Anthony Parris who is the only Boxer from the English-speaking Caribbean to win an Olympic Medal and is still the only Guyanese to do so.

Parris looks back on his life growing up in 'Lodge', his remarkable achievement at the 1980 Olympics, how the political boycott of 65 Nations from the Moscow Olympics inspired team Guyana, his successful Boxing Career, the present state of local Boxing and his life after boxing, which included this National Sporting Ambassador being ignored by all elected Governments after the death of President Forbes Burnham.
He fought 48 Amateur fights between 1972 and 1982 and 29 fights in a Professional career in which he had 17 wins with four Knock-outs, 10 defeats and two draws from 1982 to November 1995.
Two years after his Olympics successes Parris turned Pro when he defeated Reynold McBean on his debut on November 28, 1982.
On November 25, 1983, the 26-year-old beat Anthony Andrews to become the new Guyana Bantamweight Champion.
Parris' last three fights were in the UK. After being beaten by Englishman Richie Wenton in a bout for the vacant World Boxing Organisation Inter-Continental Super Bantam Title at Everton Park Sports Centre, Liverpool, Parris defeated Paul Lloyd of England by RTD at Northgate Arena, Chester on November 24, 1995 before retiring from the sport.
Parris, a former four-time National Bantamweight Champion, challenged for the Commonwealth (British Empire) Bantam Title in 1989, the vacant World Boxing Council FECARBOX Feather Title in 1993 and the vacant Commonwealth (British Empire) Super Bantam Title in 1995.
In 1980, Parris received the prestigious 'Sportsman of the Year' Award for his historic Bronze Medal in Moscow.
Parris received a Medal of Service (MS) for his contribution to the sport of boxing from the PPP/C Administration in 2011.
In December 2015 the Andrew 'six heads' Lewis Hall of Fame was opened with Parris being among those recognised with their names and photos being hung on the wall.

In 2018 the GBA named its U-16 Boxing Tournament 'the Pepsi Mike Parris'.
In 2019, Parris travelled to Moscow, Russia to attend the World Olympians Forum (WOF). He received spending money from the GOA and a 50th Anniversary T-shirt from the Government.
Simple, humble, resilient and extremely affable are words that quickly come to mind when describing Guyana'sunsung hero who put his country on Map in Boxing three decades ago in the cold conditions of the former Soviet Union.
Born on October 4, 1957 to Ralph Parris and Doreen Parris, Mike grew up in Princess Street Lodge.
He has lots of siblings but 12 of them (six boys and six girls) were born to his mom and dad.
"As a child growing up I always loved sports but I enjoyed playing a good game of cricket," said Parris who attended the Lodge Government School and the Fountain AME.
"Life growing up was a bit challenging with lots of ups and downs. My family was not rich so we had to make do with the little we had but we were thankful for life," informed Parris, small in stature but big in heart.
"I came from a long history of Boxing. My Uncles used to Box and my father used to Box. It was a family tradition passed down to me and a few of my brothers. We would usually have what we would called 'bottom House' Boxing every weekend. We would see old stagers like Maxie Sergeant and Mark Harris go at each other in the Streets on Sundays.
My brothers and I along with friends would practice Boxing......and one day our skills caught the eyes of an elderly man from the Village and he said 'why don't join Save the Children Gym which was located at the Freeburg Primary School in Norton Street. So a little after that my brothers and I took his advice and joined the Gym and from there I started off as an Amateur Boxer," said Parris.

Parris entered the Junior Championships which he later won before going onto the Senior Championships where he was victorious in the 'Open Championships.
In 1972 Parris won the Junior Amateur Championship as a 15-year-old in the featherweight division.
"I continued to pursue various Boxing Competitions, winning some and losing some but I was never deterred from being the best that I could be. I was selected to represent Guyana in an exchange programme to America; along the way I was able to tour a few countries to represent Guyana.
In 1978 at age 21, Parris journeyed to Edmonton Canada to take part in the Commonwealth Games where he lost in the semi-finals.
"I counted my losses but was never discouraged and returned home and continued Boxing. I was selected to represent Guyana in the CAC Games in the Dominican Republic where I won a Bronze Medal," Parris informed.
Since there were no Bantamweight fighters when he returned from the CAC Games he moved up to the Featherweight division.
He fought boxers such as Wayne Smith, Keith Adams, Walter Smith and others as his journey continued in the Featherweight division.

"Darius Forde and Cleveland Denny were the most exciting boxers I have ever fought as an amateur, while Juan Baptista and Kelvin Smarts were the best I have fought as a Pro," revealed Parris.
"I started to encounter problems maintaining my weight so I stepped down back to Bantamweight and fought boxers such as Darius Forde, Paul Wiltshire, Evan Parris and a few others and continued my winning streak.
I was chosen to represent Guyana at the Olympics and that was my most memorable moment of my life. Being the first Guyanese to win an Olympic Medal was the icing on the cake," a proud Parris continued.
The crafty pugilist explained why he turned Pro.
"I was training for the 1984 Olympics but was told I was too old. They eventually selected a younger Boxer who lost at the Olympics so that is the reason I turned Pro," he explained.
Parris, who had many ups and downs and disappointments in his life, does not feel he was properly rewarded for bringing glory to Guyana.
"No I don't think so. I always wanted to work with the youths of Guyana as a boxing Coach but I was never given the opportunity by any elected Government," said the Taxi driver.
The Forbes Burnham Government honoured his historic achievement with a house in Shirley Field-Ridley Square, where he still resides.

When he worked at the Guyana Marketing Corporation, he was given time-off to train. But when President Burnham died in 1985 it seemed that Government's interest in sports development died with him since all the Governments since then appear oblivious of the importance of sports and how it can benefit this Nation.
"A few years ago I went to a senior Government official in the Sports Ministry and asked for a duty-free concession to buy a car. I did not get the duty-free concession and at times I feel what I did for my country has been forgotten even by some in the sports fraternity," lamented Parris who usually fought South Paw in a defensive and orthodox fashion.
In 1980, the United States led a boycott of the Summer Olympic Games in Moscow to protest the 1979 Soviet invasion of Afghanistan. In total, 65 nations refused to participate in the games, but 80 countries sent athletes to compete including Guyana who sent an eight-member team which included four Boxers, two cyclists, an Athlete and a Weightlifter.
Parris said he was not worried that the Government would prevent Guyana from competing at the Olympics.
Parris recounted that leading up to the Olympics there was a lot of work, determination, hard training and sacrifice, we were encamped for a few weeks in the GDF compound under the watchful eyes of the late Courtney Atherly, Ashton Angel and a few other Coaches.
"The climatic conditions in Moscow were different to what we were accustomed to but because of my ambition and determination to win at the Olympics I did not allow that to affect me.
I came up with a strategy to stay indoors and exercise in an AC room so that my body could get accustomed to the cold so I could have adjusted to the conditions there. I did not go to the march-past, I just stayed in my room and trained."
We were not interested in why the other Countries had pulled out but used that to our advantage to get there and win medals. The plan was to win as much medals as we could," the Olympian explained.
The atmosphere at such a humongous World Event must have been intimidating for the 23-year-old Guyanese.
"There were so many people, but you would not see anyone from Guyana. Security was tight. Everywhere you went there were soldiers.
On the road to his Bronze Medal Parris got past Nigerian Nureni Gbadamosi, a boxer from the US Virgin Islands and Mexican Daniel Zaragoza. In the Semi-finals he was beaten by Cuban Juan Hernandez in very competitive bout.
"The feeling of standing on the podium was unexplainable. It was a great achievement......my emotions were all over the place. I felt very proud to the first Olympic Medalist from my Country Guyana.
Just standing there and seeing the Guyana flag in the air. I think I got cold sweat from joy, and seeing so many people...I don't think I could get that feeling again.
The Olympics changed my life in so many ways. I was able to return to my County as a proud Champion. I was more recognised, respected and acknowledged for my hard work," explained Parris.
During Parris' era and a bit after that, capacity crowds at the Sports Hall was the norm but now few spectators come to watch Boxing and the veteran Parris gives his reason for this.
"I believe that big crowds supported boxing back then because the fights were attractive and entertaining. We need more promotion, more competition and more overseas exchange programmes," the father of eight opined.
"I believe the level of Boxing is reasonable high. There are a few promising boxers with good talent and I believe that if they get more exposure they can win Olympic Medals" continued Parris.
"The difference between my time and this generation is that I believe the youths are more exposed and have more facilities available which they are not using to their advantage. In my time there was not as much availability to many things. Competition back then was tough," said Parris who also participated in road races.
He thanked his late Father Coach Rapheal Parris, Cedric Williams, Joey Spencer, brother Winston Parris and his wife (Ursula) and children for all their support over the years.
He said all of his children like boxing as a Sport (his daughter is the Ring Doctor at GBA cards) but added that none of them has taken it up as a competition.
"Hopefully my grandchildren will find it interesting and follow in my footsteps," he added with a chuckle.
Parris says he would love to see professional boxing up and going during his life time, adding that he hardly ever misses a boxing card because of his love for the sport has kept him intrigued over the years.
"COVID-19 and the stay at home guideline has affected me a lot since I am unable to work as a Taxi driver.... the curfew is not a problem since I am off the streets by six anyhow," said Parris.
His advice for the young Amateur pugilists is to stay focused and stressed on the four 'Ds'.
"You must be dedicated, determined, disciplined and devoted and love the game. There are a lot of sacrifices you will have to make, but trust me it will all pay off in the long run," promised Parris who still hopes that he will be recognised by the Government for his remarkable achievement in Moscow four decades ago.
If not, it would be a terrible shame and add fuel to the claims that since President Burnham died none of the other Governments are interested in the welfare of outstanding former Guyanese Sports persons or the development of Sports in Guyana.

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Mike Parris.... the unsung Hero Guyana's lone Olympic Medalist in 40 years

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By Sean Devers This is the story of 72-year-old Micheal Anthony Parris who is the only Boxer from the English-speaking Caribbean to win an Olympic Medal and is still the only Guyanese to do so.

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Field hockey, rounders, netball, lawn tennis, table tennis, basketball, squash, boxing, horse racing and rugby

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softball cricket or beach cricket

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https://www.topendsports.com/sport/cricket/index.htm

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Information about all aspects of the sport of cricket

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opening time, when did this market appear...

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https://www.thingsguyana.com/the-stabroek-market-a-traditional-mall-where-you-can-find-almost-anything/

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Stabroek Market; the biggest market located in Guyana. People of all sorts go to this market, both to make a living and to buy groceries. This loud and busy place is always occupied with vendors, music, taxis, buses and even boats at the stelling. Fresh fruits and vegetables; seafood such as fishes, shrimp, crab can all be found at the market. Delicious pastries, cookies and cakes are sold in and around the market as well.

Stabroek Market's History

In 1842, the Georgetown Town Council designated the current location of the market on Water Street and it was officially recognized as a market even though it functioned as such for quite some time. The market covers an area of about 80,000 square feet; a reasonably large piece of land for the public.

The building is cast-iron and is known for its clock located at the top of the building. It dates back to the late 1700's but was built in the 1880's. During the period of 1880-1881, the Edgemoor Iron Company of Delaware, USA, designed and constructed the market. In the same year of 1881, construction of the iron and steel structure was completed.

Did You Know?

The iron and steel structure of the Stabroek Market may presently be the oldest structure in Georgetown that is still in use.

Life at the Stabroek Market

For some, vending around the market is their lifestyle; they're accustom to sitting at the side of the road, sometimes in the hot sun, calling out the name of their groceries...Bora! Cabbage! Pumpkin! Apple and Bananas! Corn! Whitey! Awara! Some men walk around with stands hung around their neck by rope/cloth; they sell gum, mints, candy (sweety), biscuits, etc. Likewise, some women walk around with baskets on their head selling pickled mangoes, pineapples, tangerines and more. These vendors are proud of what they do since they are able to make an honest living and provide financially for their families.

Most of the stands at the market have been passed down from generation after generation; some stands that are now owned by many clothes vendors, cooks, shoemakers, etc. were passed down from their grandparents to their parents and now to themselves. Some have been vending for over 40 years while other locations have been occupied for about 83 years. L. Seepersaud Maraj and Sons is a family jewelry business that has been in the market since 1935.

Family member Ram Maraj says "the market is a local flair; you could see everything, you could hear everything." He referred to the market as Guyana's first traditional mall, noting that one could find "from a pin to an anchor". He went on to say that it's a place where people meet up while running their daily errands like shopping or repairing a shoe.

Inside of the Stabroek Market

Some stands/businesses inside the market:

Stands inside of the market have more favorable conditions than the ones outside. Vendors are usually watchful, active and ready to sell anyone who pass by, "Come gyal buy wan shut fe yuh son today."
: Watch out for the cart men; they are full of energy and speed and are quite helpful if you need someone to carry heavy loads of groceries for you.
The fish pond; this is an enclosed area where the days catch is sold. There are long, wooden tables where the fishes would be displayed and are usually decorated with citrus peels and peppers to keep the flies away as some say. A variety of fishes are sold like butterfish, cuirass, annafoka, bangamary, trout, etc.

Behind the Stabroek Market lies the wharf. Many vendors sell inside of the wharf but most are located outside on the pavement. On the pavement, the vendors are permitted to sell their provisions from 3:00pm to 6:00pm, from Monday to Saturday with a daily charge. For some, their goods are transported from the Linden Highway and from Canal, West Coast Demerara. Others get goods from the Pomeroon and from suppliers that pass through the market on certain mornings.

Operation Times: The Stabroek Market opens at 7:00am and closes at 5:00pm. On every third Wednesday, the market is cleaned, this means that stallholders will work for only half day.

The Meat Centre and Cook Shops

The butcher section sells a wide variety of meat such as beef, chicken, mutton, duck, pork, eggs, tripe, saltfish, etc. The vendors say that they obtain beef from the abattoir and chicken from bounty and other private suppliers. Nothing is wasted at the butcher shop; the scrap bones from the chicken neck, feet and wings, as well as the cow head are all sold for dog food.

Cook shop - there are cook shops located at the back of the market. Most sell creole dishes and are opened at 7:00am. There are small dining areas at the shops; cozy, comfortable and simple. If you're tired after shopping and touring the market, the cook shops are there to replenish you with plenty to drink and it has delicious food to satisfy your hunger.

The Stabroek Market is huge; almost anything can be found at this market, from fruits, vegetable, provisions, meat, candy to clothes, books, gadgets and shoes. This huge red and white building with a pointed top and

a well-known clock is indeed a traditional mall where you can find almost anything.

Article References:

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The Stabroek Market - A Traditional Mall Where You Can Find Almost Anything!

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Stabroek Market; the biggest market located in Guyana. People of all sorts go to this market, both to make a living and to buy groceries. This loud and busy place is always occupied with vendors, music, taxis, buses and even boats at the stelling.

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https://www.atlasobscura.com/places/stabroek-market

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Few places in the Guyanese capital of Georgetown are quite as hectic or historic as Stabroek Market. Built by the Edge Moor Iron Company of Delaware in 1880, the iron and steel structure is possibly the oldest building still in use in the city.

The site on which Stabroek Market currently stands may well have been a marketplace for at least a century prior to the existing construction. Accounts exist of a marketplace at this location in 1792, where enslaved Africans sold their produce on Sundays. At that time Georgetown was under Dutch rule, and the city itself was known as Stabroek.

In 1799, the English traveler Henry Bolingbroke described Stabroek Market as such: "There is a market place where the Negroes assemble to sell their truck such as fruits, vegetables, fowls and eggs and where hucksters expose for sale articles of European manufacture in addition to salt beef, pork, fish, cheese, pipes, tobacco and other articles."

It wasn't until 1843, with the city under British rule and renamed Georgetown, that the location was officially recognized as a market. With this now clarified, the Town Council set about building a marketplace using local hardwoods. It was a fine structure by most accounts, but by 1870 it was deemed inadequate.

A committee was formed to discuss plans for a new market, and by 1879 six plans had been submitted. The Edge Moor Iron Company of Delaware, USA, won the contract, with a structure estimated at a cost of $132,855 including freight and the erection of the building in the colony of British Guiana.

Construction began on August 17, 1879 and the new market was completed and declared open on November 1, 1880. A report in the Royal Gazette described the inauguration: "The market was opened this morning without any ceremony what so ever, the only signs of festivity being the flags disposed about the buildings and on the stalls. In the course of the day however a band of music made its appearance and discoursed sweet strains of music to the intense satisfaction of the mob, which had gathered. Some ladies keeping their stalls forgot their dignified station so far as to indulge."

The Stabroek Market, then as now, covers an area of about 80,000 square feet (7,000 m2), making it the largest market in Guyana. The steel-framed structure is estimated to weigh about 635 tons.

Above the main entrance to the market is a steel tower holding a four-dialed clock, which was ordered from the E. Howard Company of Boston, Massachusetts in 1880. The clock tower also houses an iron bell manufactured in Sheffield, England, which once struck every half hour. Currently, however, the clock is out of action, a source of much argument, especially in light of the $41,000 donated by the United States Embassy in Guyana in 2016, specifically for the restoration of the market's iconic timepiece.

The absence of a functioning clock has done nothing to diminish the market's frenetic atmosphere. Stalls are often mixed in random fashion, selling everything from fresh produce to jewelry, electronics, books, shoes and live birds. At peak market hours it's the busiest place in the city: a chaotic, colorful and clamorous space where crime is common, so keep a tight grip on your bag.

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Few places in the Guyanese capital of Georgetown are quite as hectic or historic as Stabroek Market. Built by the Edge Moor Iron Company of Delaware in 1880, the iron and steel structure is possibly the oldest building still in use in the city.

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We are a part of “Kaleidoscope Museum Project” who aims to preserve Guyana’s culture by making a virtual museum. This project will be presented when it is finished. We will use a padlet to present the special culture in the country from festivals, music, art, fashion, food, architecture, myths...etc. the reason for this project is to keep the culture alive. Which is a way to protect human property from disappearing.

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We will be going to be a part of the “Kaleidoscope Museum Project” which aims to preserve the country's unique culture.Guyana is a country that is located in North Africa.The thing that we will be preserving is about the special culture that is related to Guyana.The culture of Guyana will be preserved when we finish the website which is using padlet.We will be making a mind map in a padlet to preserve Guyana’s culture.The reason why we need to preserve Guyana’s culture is because Guyana has many special cultures and it is disappearing so we decided to preserve Guyana’s culture.

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https://www.youngpioneertours.com/guyana-mass-games/

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America has baseball, Britain has cricket, north Korea has the mass games. I'd go so far as to say that there is nothing so quintessentially north Korean than those immense displays of co-ordination, political ideology and sheer pageantry. However, much like how neither baseball nor cricket are exclusive to their home nations, the mass games are hardly exclusive to north Korea. Sure. We've already talked about how close ally Romania held their own mass games during the cold war, but there's another ally who did the same. One far more close to their arch-rival the US. Here's the Guyana mass games.

Co-Operative Republic of Guyana

Okay, so first we need some context! How the hell did this even happen? Well, I explained some of this in my outrageously long blog on socialist countries, specifically the bit on places with constitutional references to socialism. Put simply, the west thought that Guyana was becoming Marxist, so they backed the opponent of the seemingly Marxist guy. What they didn't anticipate was that the guy they backed, Forbes Burnham, would suddenly take a leftward shift that pushed him way to the left of what his opponent had ever actually intended. In 1970, the country became the 'Co-Operative Republic' and began courting relations with many socialist governments abroad, including north Korea.

Guyana positioned itself as part of the 'non-aligned movement', meaning it was considering itself largely outside of the Cold War binary of east or west. It certainly had more dealings with the eastern bloc than it did with the west, but it wasn't part of the socialist common market, nor was it involved in any military pacts. Guyana's primary interest was in African liberation, something it devoted considerable expense to with little return. Another country that had been trying to avoid being lumped in too closely with the eastern bloc was, of course, north Korea. Even Guyana's much closer ally Cuba was much too pro-Soviet to be dealing with, especially with America right on their doorstep. Korea was a milder and much safer alternative.

Guyana's Relationship with Korea

In truth, their political models had some similarities. Both championed a unique adaption of socialism to their own conditions. North Korea had Juche and Guyana had the co-operative system. These ideologies were championed by a central figurehead, respectively Kim Il-Sung and Forbes Burnham. Both were also highly focused on the notion of self-reliance, pushing strongly for as much self-sufficiency as could reasonably be achieved and avoiding strong trading ties with either the eastern or western blocs. It was natural that the two would start to co-operate and even develop strong diplomatic ties, leading to the Guyana mass games.

North Korea especially had motivation for these ties. Bordering both China and the USSR, while receiving the bulk of their trade from both, they were reluctant to swing too closely in either direction, owing to the Sino-Soviet split. Their political position between the two was largely unchanged from the end of the Korean war, with any criticism for either party being left internal rather than external. This meant north Korea focused its efforts far more heavily on non-aligned allies to position itself on the world stage. The aforementioned Romania was a maverick figure, outside of Soviet influence. Tentative ties were made with Yugoslavia during their detente with the USSR and while Cuba was closely respected, its closeness with the USSR made strengthened ties undesirable. Guyana, having strong relations with neither socialist camp, proved perfect for them.

Relations bloomed and soon, trade was being done on a mass scale. In return for raw materials, north Korea sold machinery, crops and weaponry to Guyana in the most unprecedented level of trade between the DPRK and the western hemisphere in history. Students from Guyana studied in Pyongyang and professionals from Pyongyang began to work in Guyana, with allegations going so far as to suggest that north Korean troops were stationed along the Guyana border. Juche study groups emerged, cultural exchanges were rampant and even construction projects began under Korean oversight. I don't think it's an exaggeration to say that this was the most successful foreign policy venture north Korea ever had at this stage.

Guyana Mass Games

The mass games are an enormous part of north Korean culture. They're seen as education, ideological development, community cohesion, exercise and cultural expression all in one. It is a statement of intent for the entire country and its people show their single hearted unity through this. So, in September of 1979, relations seemed to hit a zenith as Korean mass games visual artist Kim Il-Nam arrived in Guyana with the expressed purpose of bringing the mass games to Guyana. He had been specially selected by Kim Il-Sung and spent months researching Guyanese history and culture to better understand how to cross this art form over.

The first mass games was a true national event. Burnham regularly sat in on rehearsals to see how things were progressing and some of Guyana's best performers were commissioned to get it as good as it could possibly be. The memoirs of Jesuit priest Andrew Morrison, who was present at the time, suggest that eight tons of decorations were imported from Korea, a hundred thousand balloons were imported from America and a further two hundred thousand buttons were commissioned with Burnham's face on them, much like the iconic badges worn in Korea. Wearing them was not state-mandated, nor did the state have a strong enough infrastructure to enforce such a thing, so the wearing of them was never widespread. Nonetheless, it's an interesting example of how close relations truly were.

On the 23rd of February 1980, the first Guyana mass games commenced. The performance was very Korean inspired. It began with a re-enactment of the proclamation of the co-operative republic ten years earlier, leading on to performances of industry, agriculture, education, defence and the national 'feed, clothe and house' program. The final portion focused on international relations, no doubt as a nod to their Korean allies, with the performance ending after ninety minutes, as is standard in Korea. The performance reportedly involved 3000 students, with 780 forming the moving backdrop that is so iconic to their Korean counterpart.

With their work done, the Korean instructors spent nine months teaching their Guyanese counterparts and then left, letting the games continue on a yearly basis from then on, constantly growing in size and scale. It became part of a student's standard curriculum to participate and tweaks to the formula gave it a more Caribbean flair as instruments like steel drums took over from the traditional orchestra. My primary source for this piece at one point interviewed Yolanda Marshall, a Guyanese writer who participated in the 1983 mass games and asked her to compare them with the Korean mass games and she had this to say:

It is very similar, in terms of the display cards and gymnastics etc. Our Mass Games was like a well-organized Carnival show. Bigger, brighter costumes, Caribbean music, dances etc. Our Mass Games resembled some type of an African celebration from slavery with a mixture of militancy and blending of cultures. I personally feel my Guyanese Mass Games was more fun, after all, most Guyanese love to dance to good music Yolanda Marshall

Much like the Korean mass games, Guyana's tended to follow different themes. The last mass games under Burnham was the 1985 games which focused on the nation's youth. The 1986 mass games was entitled 'Standing up for Guyana'. 1987 was 'Guyana - Oh Beautiful Guyana' which focused more on natural beauty, broad patriotism and support for the president. By this stage of course, ideology was being de-emphasised as the post-Burnham era led to a move away from socialism.

What Happened to the Guyana Mass Games?

By 1988, the socialist bloc internationally was beginning to waver and long-simmering tensions were building within Guyana. Fingers were soon pointed at the mass games and a loosened political atmosphere allowed for discourse to begin on the subject. Novelist Ian McDonald in particular launched a scathing attack on the mass games as being non-Guyanese and a waste of time for the nation's youth.

There may at first have been nothing wrong in at least trying a kind of exercise that produced such spectacular and colorful examples of mass popular discipline in other countries. Nothing wrong with experimenting. But the simple truth is that Guyana is not North Korea and it is surely obvious by now that the idea has not travelled well. It is not for us. It does not fit our psyche. The attempt to enforce mass discipline and call it fun does not suit our temperament, our traditions, or our deepest inclinations. Let us admire the massed phalanxes of North Korean children as they wave and smile and dip and move and gyrate in strict unison. But let us admire from afar. Ian McDonald

While the party argued back against him and that year's mass games went ahead, it surely spelled the beginning of the end. In 1992, free elections were called and the ruling party was swept out of office, paving the way for the mass games to be discontinued and their legacy all but erased from history books. Rather effectively it would seem, as there are hardly even any photographs of this more than decade-spanning annual event, the only one of its kind in the western hemisphere.

With the event over, all we have to look back on is its legacy. The earlier mentioned Yolanda Marshall sees its legacy in a positive light, gladly recalling the brightness and fun of a unifying performance of dance and culture. The Burnham era in general is not particularly looked back on with horror and dismay, having seen comparatively little in the way of state violence and having overseen a boom in education, housing and at least in parts of the economy. The nation in the west to have been most like north Korea doesn't seem particularly worse off for it. Who knows, nostalgia for the era may grow to such a point that the mass games return. Only time will tell.

If you want to learn more about this fascinating and under-researched country, you should consider coming along with us on our October expedition to Guyana, Suriname and French Guinea!

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America has baseball, Britain has cricket, north Korea has the mass games. I'd go so far as to say that there is nothing so quintessentially north Korean than those immense displays of co-ordination, political ideology and sheer pageantry. However, much like how neither baseball nor cricket are exclusive to their home nations, the mass games are hardly exclusive to north Korea.

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https://guyanachronicle.com/2020/08/09/real-1-guyanese-local-creative-creates-guyanese-themed-board-game/

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'Real #1 Guyanese' | Local creative creates Guyanese-themed board game - Guyana Chronicle

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https://www.researchgate.net/publication/290251907_Musical_life_in_Guyana_History_and_politics_of_controlling_creativity

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https://www.youtube.com/watch?v=ffT8OW_iFiY

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https://reurl.cc/Rj4A2z