Group Title: CARIFESTA Newspaper Clippings
Title: Stop the wheels of oppression
CITATION PAGE IMAGE ZOOMABLE
Full Citation
STANDARD VIEW MARC VIEW
Permanent Link: http://ufdc.ufl.edu/CA00199921/00001
 Material Information
Title: Stop the wheels of oppression
Series Title: CARIFESTA Newspaper Clippings
Physical Description: Book
Creator: Bobb, Yvonne
Publisher: Sunday Graphic
Publication Date: 9/3/1972
 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: CA00199921
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





Stop the wheels


of oppression
SYVONNE BOBB s Cntacts in thear
are strong enough for him
S"I we are tuly creating governments. to.maintainkeenness of sp
a Third Wori, then writers He claims that "we are nd understanding of tM
of the Caribbean must be. not truly independent, for problems.
gin to work overtime to independence requires build n Bown, one
stop the wheels of oppres- ing and creaAng ourselves, mos assuming of the
sion,"' says Lennx Brown, it cannot behanded to us". writers, talks
Trinidad and Tobago play- He sees some of this buildl- anout bimseafi.
wright, now attending the ng in process towards the Hie sees more canc .
Carifesta real independence taking with the ght of his bro .,)
SBrown, whose eontrtbu- Ptace, tbt perhaps too slow- ers and sisters of this regio
4tion to the literary field ar and hence the reason for t h o achieemens.
stands at 18 plays, is at pre- artists; especiaHl to tiise than his own acievemempE'
_ert engaged in oomnposg a the time qbickl and Man- may be reseonsiKe for tbe
cydle of plays lie hopes ingfuRly to prevent further awards which he has' ret
would develop a Caribbian degradation and inhuman- eved for his work, and as
mythology. and place, i ity such created milestones in
time and spae. i "Thouih we have never the ceterary history o i thni
I to this context, he rejects learpt the meaning of true region.
the view that we ust re- revolt," Brown continues first f a, he has ma
guard ourselves as- images e ust beprepared to feel the record of nnin he has mate
out of a rubbish heap, bu' that political violence is in- Canadian annual one-act
he maintains that we must dxllFed in change. paywritng competitione-
dedicate ourselves to create And he cites Cuba as an times in a row, that is thr
machinery which wouddl b-e exa le where a true revo- first pries a row, that is three
engaged in the. struggle lution has produced change. rirst prizes and a seon
against the 'politics of ex- However, he recognizes The bplye ween 1 and 1969
ploilation and oppression, that all Caribbean writers eThe ,,s were ting", '"N
Len Brown's cycle of p1ys and-cartists are not inclined Sun" and Jour ouvert".
about "Behind the Bridge", to this view, but when one Next he won the annual
he says, is not only mirror- regards the majority of Eng- Amerian competition -the
ing the social and econai- liish-speaking Cariibean ugene O'Neill Memora
conditions that are well writings, "we notice thatC rene O'Ne r "Memordal
poetry, drama and novels Conference for Prodiga
known to Trinidadians for deal seriously with social in Black Stone".w
its presence of poverty and and economic problems and; This play was among
jiunerpiivileged life, it sym- hence is geared to the ch- winners 800 enis
;bolises the whdle. region mate of. change which must Then another of his plays,
where colonialism and neo- by and large come to this "he Throne in an Autumn
colonialism dwelUl region. cott's Theatre Workshop in
He feels that -rpoducing Cott's TharWokopd
the authelsntie hstl. of When asked about his Trinidad and Tobago, was
eaple, involving the social, work in relation to his liv- taped by Canadian Broad-
econanio and psycholgicai. in Canadn, Brown feels casting Corporation for inter-
c nd. where cultural he MLfers little or no loss national broadcast.
confusion and racial mix- '"or. material from being, Vnt sl:A. several o! his
confusion and racial mix- oem apea in Canadian
tures I around. :-will create abroad. ;; oems appear in Canadian
tis mythology. e Though he is not affluent, and American magazines:
Tdis gtaboutthe invoe. he has been able'to visit and his articles in "Black
1ment of the Witer in the parts of the Caribblean at Images."
rent history f e Ca least once every year for For his master's degree
urribeant hie projects he the past four years, during for University of Toronto,
view that the writer shoeu which time he produced Len wrote his thesis on the
riew that the writer should s r o h ys works of Samuel Selvon,
be revolutionary in thought, several of his Pys. wel k ofn novelist of Trlo
He should aim at corn-, nidad and Tobago.
nunicating to all, and for
this reason he registers
disappointment that his pro- i B
auction "Ballet from behind
the Bridge" cannot be pro-
duced at several places in
Guyana..
He feels that-this absence
of vital theatre activity Is a
part of the tragedy that con-
fronts the English-speaking
Caribbean author in exile.
To him, it breeds a lack
of communication, a break-
down in dialogue among
Caribbean people -for whom
his plays were written.
Brown, resident in Canada
for over a decade, finds that playwright Lennox Browa
his work gains ready accept- .,
ance in Canada had New
York alike, but because of
the absence of a cultural
area, his ideals. for involve-
mnent at the local sources
are never realized.
On the question of Deing
a revolutionary,' Len Brown
explains that it is a position
that one must necessarilyy




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