Group Title: CARIFESTA Newspaper Clippings
Title: Reflections on CARIFESTA
CITATION PAGE IMAGE ZOOMABLE
Full Citation
STANDARD VIEW MARC VIEW
Permanent Link: http://ufdc.ufl.edu/CA00199868/00001
 Material Information
Title: Reflections on CARIFESTA
Series Title: CARIFESTA Newspaper Clippings
Physical Description: Book
Creator: Hunter, Oliver
Publisher: Sunday Chronicle
Publication Date: 9/24/1972
 Subjects
Subject: Carifesta (1st : 1972 : Guyana), Festivals - Caribbean Area
Caribbean   ( lcsh )
Spatial Coverage: South America -- Guyana -- Georgetown
Caribbean
 Notes
Funding: Support for the development of the technical infrastructure and partner training provided by the United States Department of Education TICFIA program.
 Record Information
Bibliographic ID: CA00199868
Volume ID: VID00001
Source Institution: Caribbean Community (CARICOM) Secretariat
Holding Location: Caribbean Community (CARICOM) Secretariat
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: CARIFESTA I 1972

Full Text





















Flashback shows the BalletED' Haiti doing their Queen's College per-
formance during Carifesta with an exuberance of rhythmic movements.







R flections~


Sfo s true that many of us, whoa were working a ard to ensr e th,
Carfesta remained for posterity a fitting meptat hysts l mongmen never
re Cl real sed tha t the imp at of te exposition we e ld have been so dyna
mic. t was really beyon a r wildest dreams and who knows m rybe
eoen beyond the dreams of the original dreamer, ti e father of it alld
Priime Minister Fn,,ha lurnham.
Before CARtIFESTA h wehh ut eat we have learned aniq legend of the ocame
saw the creative artistes of from these proud artists. Is -kinoking bush, of gley
'the iCaFibbean and Latin: it that we have benefited sfitckl das of the timberbq
Ameri. ,.reaching out of ai from new ideas they have of the Roraimaindians or
sea to g~p the sacred re! introduced. the Barbadian sacred -groves at Ammakoko-
of the heavens. With CARI: experiment with ained" pai or the thousand and one
FESTA: now a thing of the which created dumbfounded unique characters that came
past we in our reflections get silence with unexpected four- from the fowels of mother
a better picture of the re- better words or Fr. Elie and Guyana.
gion's.creative genius. his Chorale du Francois with With CARIFESTA now a
It is more like that of their unusual approach to child one week old in history
proud form skilled with a ging; me in front of we can .better catch glimpses
pNe World patois on hith women, every one kneeling, of its contribution to the
NeawWorld atis olkn isia bending, hands reaching up cultural landscape of the
breathing the folk, rising
fr eac ny a oin rhy c an graphhy of beauty. Caribbean and Latin Amer-
t freahing out in rhythmic I could remember one man ica. I remember the famed
mogatfrenzied, manner a n in the audience saying in Surinamese poet Dobru who
gathering inspiration fr what one could describe as recites his verses to drum-
out unique sunny cosmos -m
only to burst forth resplen- pulsed cumfa music saying:
dent like scintilating larva bL "We the people of tfe Carib-
in an artistic manner and as y bean have now discovered
it leaves the scene the stage, ourselvess. ad we have
it leaves the resplendent found that it is beautiful and
light in our minds, in our Oliver Hunter proud."
lives, in our lands. .


Cerimonies
And who would disagree
that it was these proud art-
ists we saw coming from
Brazil with their 'Samba de
Roda', "Baculele" "Capoeira"'
'Puxada de rede", and "Can-
domble" From Haiti too
they came, proud with their
rhythms of the Voodoo world,
with their many ceremonies
and Mambos and Damballabs,
and it took Count Ozzie and
his Mystic Revelation of Ras-
tafari to turn on, through
systematic vlbration, the
full meanings of "Pence and
Love" and Surinam's Sookoe:
Makandra to teach us what
Blacka Bubba Winti musie
can do.


an a a mena Zm St. Le
sitting at a nearby table
was sluming it up in single
terms "These love vibra=as
are enough to tran frm e
entire world."
And this is what Carifeta
meant to thousands of peaope
...the CAR ESTA eficaht
the artistes, even the a
diences it was a Fesithl 1o
love.


a moment of extreme and, Vibrations
sublime patriotism: "I dean!
know when the hell we gan It was at Festival City
do like these people". He ob- that we had met. It was 3.00
viously had forgotten that a.m. and strange how the
one of the main aims of whole city was wide awake.
CARIFESTA was to enable The Rastafari were chanting
the Guyanese people to "Peace and Love" and drum-
learn from. the cultural ex- ming, Shake Keans was on
perience of the visiting art- his horn, the Bahians joined
istes just as much as they in with their Berimbau drums
would learn from us. and their rippling sambas,
Of one thn I m sure and the Guadeloupe maidens
that io that the pide with were doing their Afro-french
that is that Ithe pride with anes, the Trinidadians
which the visiting artistes (talcOs, the Trinidadiafl
wp ented their peiformaces were adding touches of their
presented the ype of tuff from bacchanal. People speaking
whic It was made, has made ny ton t express
the local artistes reali a. th, ing joy lat knew no lIa-
he too has a groat deal of 9"Ia9 were juiping up -
local matter to work with,
whether it be the rich lore




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