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Permanent Link: http://ufdc.ufl.edu/UF00072147/00120
 Material Information
Title: Tapia
Physical Description: no. : illus. ; 43 cm.
Language: English
Publisher: Tapia House Pub. Co.
Place of Publication: Tunapuna
Creation Date: July 28, 1974
Frequency: completely irregular
 Subjects
Subjects / Keywords: Politics and government -- Periodicals -- Trinidad and Tobago   ( lcsh )
Genre: periodical   ( marcgt )
serial   ( sobekcm )
 Notes
Dates or Sequential Designation: no. 1- Sept. 28, 1969-
General Note: Includes supplements.
 Record Information
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: aleph - 000329131
oclc - 03123637
notis - ABV8695
System ID: UF00072147:00120

Full Text



SUNDAY JULY 28, 1974


TULL


ON


TELCO


THE HOOK


THIS WEEKEND Sunday 28th,
the Communication Workers
Union will be holding their 3rd
Biennial Conference at their
Headquarters in Port-of-Spain.
Delivering the feature address on
this occasion will be Tapia Chair-
man Syl Lowhar. The Chairman
will be speaking on the topic
"The Crisis in Industrial Rela-
tions."
The conference comes at a
time when the Communication
Workers Union (CWU) is locked
in a bitter struggle with the
management of the Trinidad and
Tobago telephone Co. Ltd. over
the appointment of Waldo N unez
as Asst. General Manager and
Secretary of the Company.
The Union has taken a stand
against this appointment on the grounds
that it violates the agreement between
the Union and the Company over the
question of the employment of per-
sonnel over the age 'of sixty.
The union is also maintaining
that the post was not sufficiently ad-
vertised within the Company and that
the appointment from outside would
block the promotion of persons from
within.
In turn the Company has declared
that the agreement with the Union
gives it the right to hire people from
outside and over the age of sixty in
"special circumstances."
It has since been reported that a
solution has been found to the im-
ipasse by the expedient of appointing
Waldo Nunez as a "consultant" to the
Company. If this is so then it merely
demonstrates that a technical solution


Lennox Grant


New Tapia Editor
3HOENDRADATT TEWARIE,
'ias assumed duties as Editor of Tapia
from mid-July to mid-September.
Prior to this, Michael Harris, Lloyd
Taylor and Lloyd Best shared editorial
responsibilities.
Beau, as he is better known, is a
teacher of English who has previously
written for Tapia. He has also been
involved in theatrical productions in
the South. Former editor, Lennox
Grant is now secretary to the Tapia
executive,


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has been found to an issue that has
been waged on legal technicalities.
But it is clear that the roots of
the conflict go much deeper than
these legalities. The anger and bitter-
ness displayed by the protesting wor-
kers in their physical assault on the
person of Company Director Selwyn
Richardson is as clear an indication of
this as is possible.

MALADMINISTRATION
To appreciate the strength of
the passions that have emerged it is
necessary to go beyond the surface
issue of Nunez's appointment and to
consider the recent history of admin-
istration, management and industrial
relations in the Company.
For the past two years the
Telephone Company has risen time
and again to the forefront of national
interest and on each occasion the
exposure has revealed serious and
criminal deficiencies at the level of
management and administration.
It would be recalled that at the
time of the initial protest by the
Telephone Users Group over the Com-
pany's proposals for rate increases, the
shocking story of mismanagement and
shady practices was brought to light.
More recently we have had the
issue of the sale and installation of
unauthorised phones. A hasty and
badly conducted investigation labelled
by Union President, Carl Tull, as "a
kangaroo court" was followed by the
summary dismissal of a numbic of
employees.
In all this it is not difficult to


imagine that the position of the wor-
kers has been an extremely uncom-
fortable and anxious one. They have
for the most part been caught between
the edicts of an inefficient and irres-
ponsible management and the legiti-
mate anger of a public fed-up to its
teeth with the poor service that the
Company offers.
Their vulnerable position was
only emphasised by the recent dis-
missals, for whether or not these were
justified, it is only the naive who
would believe that the practice\f
selling and installing unauthorised
phones could proceed for so long
.without the knowledge, if not the
acquiescence, of the highest levels of
administration.
But managerial inefficiency in
the Telephone Co. over the years is
neither surprising nor unique. Mal-
administration, inefficiency and cor-
ruption have been the distinguishing
features fall the semi-private statutory
bodies which this Government has
touched.
In this regard the crisis in man-
agement which leads the Company's
Directors to consider that "special
circumstances" exist, is also visible in
WASA, NilA, PTSC, the Television
Station, Orange Grove, and I3WIA.

POLITICAL PATRONAGE
Thle Iact is that Ihough these
Companies and corporations s ae sup-
posed to be run on efficient business
lines, which really means making a
profit, their Boards of Management
and Administrative offices have been
used conltinually as silnecures Ior party


/I


hacks, court favourites, and even as
ports of exile for those who must be
banished from the inner circles.
It is this blatant political tom-
foolery that is the root cause of the
inefficiency of so many of our public
services. And Industrial relations within
these companies shall never be stabil-
ised until this situation is corrected.
It is nothing but foolishness and
evasion of the fundamental causes to
demand that workers leave managing
to management. This can only come
about when management can command
the respect and confidence of tlie
workers by their expertise and efficien-
cy. This is the best possible oriin of
Industrial Relations
Moreover. tlic pressing need Iot
ecotlnoitle Icoirgali/a iont shall soonl
force us to reassess o \\li ol coice'pl
of own', siin p and cLoI ilitl in .in\
event. whalitvci. it' stLcc ,s ol MI
Willson's ht ll edC ltip 1to \c\\ Y l o k \C
hold no II i. Iliatl "'p acice hill
comlllt atl lisl


'I
r
I


'* .i .""
, i4 ,
;-^I


Carl Tull


Workers' protests helped to killthe ISA; now IRA "


VOL. 4 NO. 30


25 ( llI,,


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NS. N


Bhoendradatt Tewarie


PERHAPS the first
question one should ask
in examining the present
education system is
whether or not there is
any philosophy behind
it. In other words, have
questions about the
nature and purpose of
education come up at
.all at governmental
level.
If the answer to this
question is no, then that
may well explain the
haphazard, slap-dash system
that we have.
If, however, the
answer is yes:_if the govern
ment's present education
system .is in keeping with a
certain philosophy of educa-
tion, then one has no alterna-
tive but to conclude that
that philosophy, regardless
of what it might be, is not
right for Trinidad and To-
bago.
The deficiencies of the
present system of-education


are many, but right now we
are faced with a particular
problem.
One morning, not so
long ago, the nation woke
up to read, on the front
page of the newspapers that
there was a "crisis" in the
Junior Secondary Schools.

CRISIS
And what was the
nature of this crisis? The
crisis was that those who
have made it by way of the
11-plus examination to the
Junior Secondary Schools,
will have to be further
screened at age 14, so that
only 35 40% of them can
go on to Senior Secondary
School.
Of course, there was
an uproar over this, and
after a certain amount of
pressure exerted on the Min-
istry of Education, the
decision was made that 70%
of the children now termina-
ting the 3 year programme
in the Junior Secondary
School system will go on
to the Senior Secrndary
School and the G.C.E.


Examinations.
No one said anything
about the mechanics of
such a plan. No one said
anything about where and
how these children would
be accomodated. And, of
course, no one said anything
about next year or a long-
term plan or whether or
not any long-term plan
exists.
While the press may
be satisfied with their scoop
and headline followed by
the usual silence because
their refusal to do in depth
studies on any issue of
significance to the country
which might prove embarass-
ing to the present regime,
the crisis is far from over.
Parents are worried
about what is going to
happen to their children
after 3 years of spending
money on books, uniforms,
transportation and inci-
dentals.
Teachers are worried
about their charges.
And children, wh o
face an insecure future, who
have no idea-as to what lies
in store for them, or who


perhaps, are aware of the
grim prospects that await
them, are worried most of
all.
These are the people
who are experiencing the
crisis, but, of course, there
are no avenues available,
through which they might
voice their greviences or
protests.

LUCK AND CHANCE

The real crisis how-
ever is not merely a crisis of
the Junior Secondary
Schools, it is a crisis in
education in general, and,
to be more specific it is a
crisis of the present educa-
tion system, under which
we are operating.
The present education
system does not cater to the
needs of the individual, nor


does it take into considera-
tion the needs of the society.
It is an education system,
based, like the National
Lottery, on luck and chance.
It is an education system
for which the technicians
plan in isolation: isolation
from the people involved in
the education process, isola-
tion from other areas that,
of necessity, must come to
bear on any integrated
planning for the educational
needs of a country and its
people, and isolation, be-
cause of the centralised
nature of the present gov-
ernmental structure, from
the people of this nation as
a whole.
The critical state of
Education in this country
suggests that a thorough re-
evaluation of the very
foundations of our educa-
tional philosophy must
precede any suggestions for
modifying the existing
system.

INCORRECT

How can the as-
sumptions behind the
.present education system be
correct when the end result
is a great number of
frustrated -individuals-who-
lack self-confidence, who
are skilled in nothing, the
best of whom, lacking any
kind of drive or initiative
fulfil their traditional role
of joining the previleged
elite class, living off the
fat of the land?
How can the as-
sumptions behind the
present system be correct
when it does not take into
consideration the needs,
aptitudes and talents of the
individuals who make up
this society?
How can the as-
sumptions behind the
present education system be
corrected when academic
proficiency (and a question-
ably kind of academics and
a questionable degree of
proficiency at that) is the
only yardstick by which the
student is judged? And how
worthwhile is such a yard-
'stick when it makes educa-
tion so narrow that it stulti-
fies the human potential
and limits the personal
development of the in-
dividual?
How can the as-
sumptions behind the
present education system be
correct when, after five years
in Secondary School, people
leave with nothing to show,
joining the growing ranks of
Ithe unemployed, threaten-
ing to burst the dam of
social and economic dis-
content making a repeat of


Cont'd on Page 8


* I- A-p II N


PAG.E 2 TAPIA


SUNDAY JULY 28, 1974






SUNDAY JULY 28, 1974


"GO Tobago" we are urged. And the words keep coming
back with greater and greater intensity as the holiday
months of July, August, September draw nigh. "Take
your pick!" demand the full-page ads in the newspapers
and from the rear bumpers that flash by, we are treated to
sticky reminders. From all avenues this seductive appeal to
our recreational instinct.
Not entirely without ---
reason. As it stands, Tobago Lloyd Taylor
is a veritable wonderland for
the holiday-maker. While we
must concede that.it's tourist
potential is being exploited
without due concern either
for political autonomy or all-
round economic development,
it does offer real recuper- f
ation and rest.


EVERYWHERE

The crunch comes only
when we consider the way
to this paradise. It is only in
getting there that we learn
the answer to the question
which the ads, obsessive with
the- end, never once pose.
From Port of Spain to Scar-
borough, from Scarborough
to Bucco, or Speyside, or
other famous beaches, trans-
port public transport in
particular is a litany of
horrors.
Boat or bus, it's the
same story take your pick.
And until the lobago Air
Services new rib of BWIA -
the air journey from Piarco
to Crown Point told a similar'
tale.
As it turns out, our
tourist pipers are the kind of
people (not my kind, thank
you) who hold to the mis-
taken belief that the journey
has nothing -to do with
Paradise itself.
Take your pick again.
Boat. Up or down wind, the
eight hour journey turns out
to be nothing short of a travel
ling slum. Before the first
two hours have elapsed,- the
bodies which held heads up-
right on deck (or tourist class)
recline as if by magic into
horizontal positions. On the
long steel benches in deck.
quarters, people lie across
the tables, on chairs, legs
lounged forward to the tourist
quarters.
Passengers take to the
floor as well; it becomes dif-
ficult to walk through the
gang-ways without stumbling
on somebody's piece of bed-
ding.
A stranger to these tnps
could hardly imagine that the
passengers seen climbing the
gang-plank outside or des-
cending the companion-ways
within, moments before the
journey, were laden with
spread to cover most of the
floor and seat space.
But these humble souls
are blameless. How else could
they be expected to carry
their bodies through an entire
eight-hour journey on a 'Bird'
so incompletely appointed
that to sleep means to spread
out simply anywhere on
,deck?
Take your pick? Why


IF YOU COULD TAKE THE




TRANSPORT HORRORS


not here too? By either boat
it is squalor all the same
though, for some uncanny
reason, one finds that a flop
(especially upwards) by the
Bird of Paradise is infinitely
more harrowing. Sea-sickness
is alinost compulsory.
After holding on with
great hope for the best part
of four hours, the stomach
bag finally yields to those
contractions that bring on
streams of vomit. The puking
souls dissemble, hurrying to
crane their necks overboard.
The sickening graons are
drowned in the general rough
and splash of the night.
You disembark at
Scarborough leaving behind
what you thought were total
horrors a trip where the
deuce himself had played the
Piper. In port, you pinch
your skin, as the old ladies
say, and thank God you are
still very much alive.

TANTALUS

Before you now the par.
adise fun and games and
scenic "beauty. Enchanting
beaches to be gained, if only
you could answer the ques-
tion 'how?'
You reason-that a com-
pletely enjoyable stay is one
which takes you most places.
Your choice of transport must
make the most journeys pos-


sible.
Take your pick. You
plumb for public transport, a
bus, that is. And with the .
first shift you are gasping "oh
crimson" and wondering what
in blazes you have gotten
into. Mind you, you are now
in the midst of Paradise itself
Either way, West to
Bucco or East to Speyside,
to travel by bus in Tobago, is
to come face to face with the
absurdity of public transport,
to relive the torments of
Tantalus, in fact.

PRECIPICE

And all because of the
absurdity of fitting these
narrow roads with transport
units that are far too big. And
the mind that urges "go To-
bago" is the identical one
which would visit on Tobago-
nians such absurdities.
There can be no ques-
tion of widening the roads
though the surfacing -on
which depends the comfort
and the economy of transport
leaves much to be desired.
The roadways are hilly some-
times with steep rises and
winding at most times with
terribly sharp curves.
Within inches of the
pitched roads, rise steep es-
carpments, great walls of
earth stretching alongside for
one to two hundred yards,


and alternated from side to
side by precipitous trips down
steep slopes (also within
inches of the pitch).

SINSUR ANCE
.The buses occupy at
least three-quarters of the
freeway and oncoming traffic
must always climb some
narrow strip. (Take the jour-
ney to Bucco Reef through
Patience Hill, some six miles
from Scarborough.)
To give an idea of what
bus transport means, this
journey, at its fastest, can
take thirty or thirty five
minutes.
More. At Big George
Corner, bus drivers are ob-
liged to take two turns. .
and with great skill to boot.


Which means driving forward
and reversing within inches of
a dangerous slope before
moving forward aga n.
After all these thrills no
doubt one i- tlcT- I. 1i
fathom the tragedy which left
seven dead last year when.
travelling along similar roads
to Speyside, a bus careened
wildly and catapulted down
the slopes. The driver, Ralph
Henry was hard-pressed to
put the blame on faulty
clutch and brakes.
The truth is that passen-
gers travelling in even the
best-fitted buses are forever
on the brink ofdeath. Tobago
bus-drivers should insist on a
special rate of pay and on
proper insurance protection
for the risks endured from
day to day.


BAG


EDMUNDO1)

. Carico


I !r- i fl o e .i L /







SUNDAY JULY 28, 1974


TRINIDAD Theatre
Workshop has been in-
vited by the White Barn
Theatre in Westport
Connecticut to take
part in its Summer
Season Festival along
with the Campesino
Players, the Cafe La Ma-
ma and the Trinity
Players.
The Workshop's
dates for the festival is
August 15th. through
25th. Two plays from
the Workshop's reper-
tory, both by Derek
Walcott will be present-
ed, Ti-Jean and His
Brothers, with music by
Andre Tanker and
Dream on Monkey Mountain.
Earlier this year,
Mr. Ralph Alswang, Di-
rector of the White Barn
Festival, visited St.
Croix where he heard
of a production of 'Ti-
Jean' by the Courtyard
Players in Frederiksted,
which was directed by
Derek. Walcott and
which featured a Work-
shop actor, Wilbert
Holder.
During the run of
the 'Charlatan' another
play by Derek Walcott,
which was produced at
the Mark Taper Forum


Theatre Workshop


US

in Los Angeles, Mr.
swang invited the Co
pany to his festival.
Before their depart
for the United States, t
Workshop will present
revival of'Dreamon Monk
Mountain' at the Lit
Carib Theatre f r o
August 1st. for a one we
run. That week is also 1
week for their 15th. A
niversary.
The run to the Lit
Carib Theatre is significa
because that is where t
Workshop began
activities.

DISTINGUISHED

"Dream on Monk
Mountain is also one of ti
best known plays to ha
originated from the Woi
shop. Since its first pr
duction in 1967 in Toron
it has been performed at t
Eugene O'Neil Memor
Theatre in 1969.


Drama

Al- It was given an eight
)m- week engagement at the a(
Mark Taper Forum in Los jc
Angeles in 1970, directed
ure by Michael Schultz with p
the major roles played by as
a Roscoe Lee Browne, Ron G
key O'Neil and Tony Fargus. M
tle It was made into a p
m 57 min. feature for the A
eek National Education Tele-
the vision with members of the b
\n-
A Workshop. It was produced
tie by the Negro Ensemble
t Company again directed by
Lnt Michael Schultz in New
ihe York for which it won an
its Off-Broadway for "A Dis- P
tinguished Foreign Play" S
during 1970-71 season.
Later it was taken by
Negro Ensemble Company Dr
ey to Munich as one of cr
he America's cultural presenta-
ve tions for the Olympics 1972. M
rk- It has since been produced
o-. in Cleaveland, Seattle,
to, Canada and most recently,
:he in Detroit.
ial In the current Work-
shop revival, several new



Sn, m _t]
Ogg~yi~A
.T~~ ~~ r'yl' ?'~


actors who have recently
lined the Company will be
king major r o 1 e s,
particularly Anthony Hall,
Sthe Corporal, Winston
oddard as 7igre and Ivor
icou as InspectorPam--
hilon. Several members ot
.stor Johnson's Repertory
Dance Company will also
e in both productions.

SHAKESPEARE

Of the original Com-,
my Errol Jones as Makak,
tanley Marshall as
'oustique and Andrew
eddeau as Principal
rummer & Singer will re-
eate their roles.
'Dream on Monkey
mountain was given a short


bor


run of four (4) nights at
Queens Hall in 1968.
Astor Johnson has
choreographed its dances.
ne will also play the role of
Basil.
The production is
designed and directed by
Derek Walcott.
On its return from the
White Barn Festival, the
Workshop will continue its
rehersals of 'The Joker of
Seville', by Derek Walcott to
be presented in mid-
October.
The play has been
commissioned by the Royal
Shakespeare Company who
has given the Workshop
permission to present it in
Trinidad before the Royal
Shakespeare Company's
production next year.


From Page 2
the confrontation, violence-
and chaos of 1970 more
than a mere possibility? Tow
can the assumptions behind
our present education system
De correct when the
character of the school is
abstract and unreal? When
education planning begins
in the middle, with the
Junior and Senior Secondary
Schools and not at the
beginning, as it should, with
Pre-school education? When
in reality, education in
Trinidad and Tobago means
school buildings and school
places and drifting from one
meaningless examination to
another, all the way to Uni-
versity level?

CHANGE

How can the as-
sumptions behind our educa-
tion system be correct when
the needs of the society are
not served, when the people
do not participate, when
the government of this
country implements its plans
in education, by remote
control, as it were, from its
central office in Port-of-
Spain?
It is obvious, there-
fore, that the assumptions
which inform the present
system of education are
deficient and history has
proved that it is totally
unsuited to the needs of the
Trinidad and Tobago nation.
It follows, then, that
if education is to change in
this country in a significant
way, there has to be a radical
departure from the present
philosophical assumptions


that guide the system which
now exists.
Very simply, our basic
philosophy of education has
change.
WaliT- the' re r-Tnay
ask, is to be this new philose-
phy of -education? I would
like to suggest that this is
not an appropriate question
to ask at this point. The
philosophy of education
will come, but it must come
after we ask two very basic
questions.
(1) What kind of
society do we wish to
to live in; what kind
of society do we hope
to bequeath to our
children?
(2) What kind of in-
dividual is essential
for building this new
society?
It is absolutely
necessary to ask these
questions first, because no
system of education exists
in a vacuum and no philoso-
phy of education that is
going to make any signifi-
cant difference in educa-
tional planning for Trinidad
and Tobago can be develop-
ed out of some vague
concept about what educa-
tion should or should not
be.
Basic assumptions that
will determine the new
approach to education must
be born out of some clear
notion as to what we hope
to achieve, through t h e
education. system, for the
nation as a whole. Only this
kind of fresh approach to
education could be con-
sidered valuable to t h e
Trinidad and Tobago nation,
in its present stage of de-
velopment.


Festival


Ne hal.
W.1 loso


.in tlon
uca


PAGE 4 TAPIA






SUiNIUiY JULY Zb, PJ,4
















ear lc h re ] e
.-hes


Nationalism is not only frenzy and
struggle with all its necessary demand
for the destruction of those forces
which condemn you to the status we
call colonial. The national spirit is
deeper and more enduring than that.
It is original and necessary as the root
of the body of the tree. It is the source
of discovery and creation. It is the
private feeling you experience of
posessing and being possessed by the
whole landscape of the place where
you were born...(Of Age and Inno-
cence, 1958).
THE THEME of the West Indian's
search for freedom pervades the
novels of George Lamming. Lam-
ming defines freedom as the
ability of the West Indian to over-
come those aspects of the colonial
experience that militate against
political sovereignty, cultural
authenticity and the true fulfil-
ment of the person. Each novel
introduces some major political
development and the way it
complicates this search.
In the Castle ofAlyv Skin (1953)
highlights the economic and political
turmoil of the thirties, the decline of
the planter class and the rise of the
middle class: Of Age and Innocence
discusses the struggle for self-determina.
tion in the pre-independent colonies;
Season of. Adventure, (1969) deas
with the middle class/working class
conflict in the independent socieites;
Water With Berries, (1971) makes
reference to revolutionary violence,
class betrayal and the problems to
exile.

S a

Lamming's analysis of West
Indian society owes much to Shake-
speare's The Tempest which is con-
sidered by some cirtics as the classic
document of colonial relations. Writing
in The Pleasures ofExile (1960), Lam-
ming says:
"I see The Tempest against the
background of England's experience in
colonisation...And it is Shakespeare's
capacity for experience which leads me
to feel that The Tempest was also
prophetic of a political future which
is our present. Moreover, the circum-
stances of my life, both as a colonial
and an exile descendent of Caliban in
the twenthicth century, is an example
of that prophecy."
Lamming is suggesting a link
between the society depicted in Shake-
speare's play and the Caribbean com-
munity in our time. lHe is also suggest-
ing the existence of certain parallels
between lhe levels of consciousness
the dramatist explores ana the three
main classes of West Indian society.
In Lamming's interpretation,
much influenced by O. Mannom's
definitive study of colonial relations,
Prospero and Caliban, (1950), Prospero
approximates to the' wrie- coloniser
who usurps Caliban's kingdom and
enslaves him; Caliban becomes the
black dispossessed West Indian, in-
debted to Prospero for certain gifts,
yet motivated totally by the need to
oust Prospero and liberate himself;
Ariel is the go-between middle class


man, servile and degraded in his rela-
tionship to Prospero who uses him to
keep the rebellious slave in subjection.
The essential difference between
Caliban and Ariel is that the former
rejects Prospero's myth of his cultural
superiority while the letter accepts it.
This is at times a simplistic view of
West Indian society but it is treated
very subtly in Lamming's fiction. It
pinpoints certain essential considera-
tions and is bsaic to any understanding
of the theme of freedom in Lamming's
work.
Caliban is the most important
character in these novels for he is
recognized by the author as the pulse
of West Indian society in many im-
portant ways. He functions on many
levels; visionary, artist, liberal leader,
fanatic politician, revolutionary; each
role increasing the complexity of
his search for freedom and even
altering the nature of the search itself.



But it is a tribute to Lamlring's
honesty and insight as an artist that the
Caliban figures are not romanticised.
In fact, Lamming seems to reserve his
most cynical reservation for Caliban's
search for freedom, implying for
example, that he is too much a victim
of the colonial experience to be evel
really free.
This search becomes increasingly
paradoxical for what Lamming suggests
is that Caliban may have reached the
stage where he is incapable of taking
advantage of that condition towards
whose attainment his total energy has
been directed. The author also
implies that in his search for political
freedom Caliban risks the loss of
important qualities: receptivity and
innocence. It is the paradox of Cali-
ban's quest for freedom that compels
interest in Lamming's novels.
Of Age and Innocence, Lam-
ming's most overt political novel,
presents one of the most realistic and
even prophetic commentaries on the
conflict of West Indian society. Age
depicts the fight for political inde-
pendence waged by the non-white
exploited races (Caliban) on an
imaginary Caribbean island. The
struggle for self-determination is
spearheaded by a triumvirate consisting
of Shephard the African leader of the
group, Lee the Chinese and Singh the
Indian. These men, backed by
enthusiastic supporters from the races
they represent, struggle to overthrow
the conspiracy of Law, Wealth and
Privilege oln which colonial society is
structured.

From this essential political
struggle other factors emerge. We
understand, for example, the difference
in attitudes between Age and Inno-
cence, the violent and corrupt rela-
tionships of the colonial world and the
serious problems that confront Caliban
himself. Shephard is at the centre of
this political struggle with which his
c;arch for personal freedom is closely
inter-related.
Shephard is a victim of the
:olonial experience in a way


that is not clearly established in the
lovel but which is obviously related
Lo his experience with a white woman
n England. Indeed, one of the failures
.f this novel springs from the author's
ability to present a sustained and
:onvincing portrait of Shephard's
)redicament. However, two constras-
ting images of the politician are created
n the novel: the sophisticated,
purposefull nationalist leader on the
-ne hand and the crazed and tortured
individuall on the other.

I i
At times Shephard seems in-
capable of or uninterested in seeing
this political conflict in its moral
prospective. Motivated by his personal
experience of the colonial war Shep-
hard seems willing to wage this war
to its bloody climax no matter what
the consequences are. He becomes an
individual crippled by this cleavage of
the personality, tainted by hatred
almost beyond sanity and redemption.
In Shephard we have an example of
the extent to which involvement in
the struggle for freedom might
adversely affect Caliban's humanity.
On the eve of an election he
cannot lose Shephard is assassinated.
This is the most tragic episode and it
society. he impression is \ given that
society. Tlhe impression is- given that


the murder is carried out on the
orders of Crabbe, the Chief of Police,
but
Shephard's assassin is Baboo,
an Indian warder who is jealous of
the black leader's pre-eminence and
has a vision of his own race, through
Singh, taking control. It is a realistic
treatment of the racial climate in the
West Indies, recalling situations in
Guyana and Trinidad. Baboo's motive
both realistic and disquieting and the
author uses it to emphasise how taint-
ed is the adult world of Caliban's
society. Only the children Innocence
are able to make the concept of
multi-racialism a success, only they
are morally fit to inhabit the new
society.
Some of Lamming's observations
about Shephard find an echo in his
presentation of Powell, that finatical,
elusive genuis of the pan who appears
in Season of Adventure. The pansman
represents Caliban at his most violent
level of political awareness. He .is
obsessed with the idea of personal
freedom and is an individual of strong
political consciousness. Powell is em-
bittered by the political hypocricy of
San Christobal and is suspicious of
the "freedom" and "change" of which
this nwely "independent" society
boas ts: -

cont'd on Page 8


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_~ I_ I_^_ __ __II_ I


---







.SUNDAY JULY 28, 19741


THE ARTIST in Trinidad has long been content to
faciliate the public absorption of bad art. The barriers
set up by a proliferation of 'postcard' painting, or the
other extreme of untutored skill masked as modern
painting, have remained unshattered. It is the stifling
atmosphere engendered by such a situation which
often threatens to suffocate our artistic talents.
Not only do we have to contend with a public
untutored in the appreciation of art, but with artists
whose main purpose is to make money. To this end
the more established artists in the community have
settled comfortably into a complacent regurgitation
of cliched themes and styles. They are unprepared to
experiment with anything too difficult.
The reason obviously'
lies in the fear that the buying
public might not accept any-
thing which is too new. Thus,
insincerity and lack of-though
become rampant.
There are those who
have broken out of the more
obviously traditional styles,
to create new avenues in Trini- T h e
dad painting. There are others
who use the accepted styles:
to explore genuine artistic
problems, but the larger pro-
portion of our painters, are
content to remain secure in
their limited vision of the. A
world.


There are two current
exhibitions which provide
important examples of both
the limitations and the
possibilities of our talent.
Noel Vaucrosson, the well
known writer-colourist, is
exhibiting his work in the
the National museum, and
Lloyd Harris, an art teacher,
has mounted his exhibition
at the Government Training
College. The contrast is start-
ling.
in Vaucrosson's work,
pleasant visual pictures are all
important and pervasive. His


I
10


Heating the Drums. Lloyd Harris





Ist in


Society


prolific brush produces in-
numerable detailed versions
of tropical foliage and
picturesque buildings. The
result is, to say the least,
boring.,. The artist must
naturally go through the
process of naming the
country-side. It is only when


he stops at this, and refuses
to discipline his creative
vision that the problemss arise.
In such a work as Rain,
over the Islands the overall
effect is a moody somnolence.
The mind balks at the enve-
loping mistiness which seems
to lack a centre. This ability


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to use a full brush to entice
the viewer into a soft, senti-
mental mood is part of
Vaucrossen's repertoire of
artistic antics.
In his 1973 exhibition,
it was used with some success
in his portrayal of village
festivities. In the more sombre
landscape the brilliant tone
is lost. One is only enervated.
Rough Sea-San Souci points
at a more important
characteristic of the art work
of this country. The frigid
landscape reminds one of a
foreign scene. It lacks any
reminder of the Caribbean
psyche.
Instead, one becomes
aware that despite the abun-
dance of flamboyant and im-
mortelles in the exhibition,
Vancrosson, like so many
others, is oriented firmly in a
European tradition. His art
has been unable to force him
to probe the depth of a
country which contains more'
than pleasant scenery'.

VAUCROSSON
It is only fair to say,
that Mr. Vaucrosson has
learnt from his last year's
exhibition. There is greater
thought in the arrangement
of motifs. Flamboyant at
Gasparee involves the viewed
in a circular sweeping design
which is rythmic and stable.
The Farm Worker's Home
provides a harmonic arrange-
ment of tree and house,
colour and design. The ability
he shows in these and a few
of the other paintings is
however almost-nullified by
the lack of any cultural or
philosophical statement.
Vaucrosson's inability
to portray people remains a
distressing h a n d i c a p
Miniature figures provide
some semblance of human
interest in the works which
are conceived without -ap-
parent emotional insight.
These figures, however never
move beyond mere decora-
tions.
Lven when he attempts
large scale figure-sketches one


senses a crippling lack of
realism. The various reclining&
nudes remind us of magazine,
drawings.
Vaucrosson's promi-
nance in the Trinidad art
world, can certainly be seen
as an indication of a general
unawareness of true artistic
quality.

HARRIS
If one searches for the
reasons behind this, one is
faced, first of all, by a lack
of educational facilities.
Children are rarely exposed
to good art. Secondly, we
lack an art gallery. Our
National Museum serves oinly
to reinforce the faults of our
art milieu.
Mawkish works are
hung in the same bad light
next to paintings of real talent.
The criterion for choosing
works for this museum has
little to do with the value of
the work itself rather with
the name andoffice of the
artist.
What is needed in Trini-
dad is the courage to experi-
ment and create, despite the
obstacles of an indifferent
Government and an atmos-
phere of complacency.
Lloyd Harris's work is
a tribute to his own presis-
tence despite the relatively
meagre recognition his talent
has received.
As an art teacher he
has refused to allow his
students to become enslaved'
to traditional standards. He
stresses individual freedom of
expression;by continuing to
grow in his own work, he has
provided first hand examples
of good art.
Some time ago in Arirna,
Mr. Harris organised an
exhibition of the works of
Eastern Secondary Schools.
This passed unnoticed except
for those close to the or-
ganisers and students.
Yet this exhibition
remains a milestone in the


Cont'd. on Page 7


Jean Antoine reviews the Museum and Art Gallery
works of Noel Vaucrosson (July 15-28) and Lloyd Har-t
on display at the National' ris at the Government Train-
ing College (July 16-29).


PAGE 6 TAPIA







SUNDAY JULY 28, 1974


Independence Square.

From Page 6


development of our art. It
showed the results of a con-
cerned effort by three
teachers to free the vision of
their students. Young artists
displayed fabrics which
showed almost complete free-
dom from traditional rules.
Wall hangings were tie-dyed;
later decorated with remnants
of crayons and acrylic paint
or any available material.
The spontaneous de-
signs of the students also
reflected this individuality of
expression. Yet there was
nothing chaotic nor was there
evidence that the basic rules
of art had been ignored.
As 'an art teacher,
Mr. Harris has done much to
change the directions of art in
the country. In stressing the
use of available materials, he
1has sought at all times to
prevent his students from be-
coming defeated by the exor-
bitant prices of art materials
.in this country.
V'-


Noel Vaucrosson


He has not made an
appeal to Government to sub-
sidise these materials as they
should be doing. Neither has
he questioned why our Art
Society has never seen fit to
.petition Government to free
important Art materials from
any customs restrictions. He
has sought instead to find an
answer within a situation in
which Government pays lip
service to the arts and does
nothing to help the artist.

SELF-RELIANCE

The attitude of this par-
ticular art teacher has served
a further purpose. It has ser-
ved to make his students
more self-reliant and more
conscious of their own pos-
sibilities. This goes a long.
way in securing that the artist
will eventually move towards
a confident creation of a
unique Trinidad art.
The possibility of edu-
cating the public to demand
more from the artist and of


making the artist more con-
scious of his role is strength-
ened.
The present exhibition
at the Government Training
College is again a step towards
giving the public a different
perspective on the purpose
of art.
The sincerity of this
artist is his most obvious
quality. His Landscapes are
the expressions of genuine
emotional depth rather than
photographic representations
of scenes.
In Seascapes one feels
the tension of loneliness and
the struggle to overcome it.
There is none of this emo-
tional intensity in Vaucros-
son's work. Mr. Harris's
paintings disturb the viewer
and awaken a sympathetic
response.
He is in search of form
and contact with humanity
as his portraits of dancers
and drummers show.Heating
,the Drums recreates the ac-
tivity of the men intent on


perfecting their craft. So too,
Mr. Harris's preoccupation is
with the possibilities of the
various types of mixednedia,
such as oil and tempera and
with him there is no limit-
ation.
Dancer of the Night
shows the effects one can ob-
tain through mixed media.
The deep spatial qualities of
this work are the result of
careful attention to detail and
patient experiment with
acrylic and tempera. It is
through such experiments
that we see the possibilities
of growth in our art.
There is much that can
be said about Mr. Harris's
work, but it is his refusal to
stitle his talent which remains
uppermost. No artist can ever
afford to remain static.
If one considers that in
the five or six water-colours
landscapes presented by Mr.
Harris, he has been able to
move beyond the limitations
of the works of Vaucrosson,
the importance of this dedi-
cation to craft becomes self-
evident.

TOURIST

In reviewing the work
of Lloyd Harris one's irritation
at the 'Trinidad Art Society'
and the majority of accepted
artists, grows. We are faced
with petty individuals intent
only on securing their own
success.
The various paintings'
sent to the International Ex-
hibition in Sao Paulo over
the last decade show a con-
sistent refusal by those who
dominate the art world, to
allow their positions to be
jeopardised.
Mr. Harris' work has
never been chosen for this
exhibition, despite years of
consistently excellent work.
Yet every year paintings by


Mr. Alladin and Sybil Atteck
are chosen.
They have become the
accepted 'Grand Masters' of
our art Society. Yet Alladin's
work has become increasingly
degenerate over the years.
The proliferation of folk
motifs which he favors
shows a refusal to discard
the mask of a free and fun
loving people. He continues
to interpret the Trinidadian
personality through the eyes
of a tourist.

CHANG

It is significant that-
Carlisle Chang one of our
most talented of the older
artists has refused to remain
in the Trinidad Art Society.
It is indicative of his philoso-
phy that he has been more
and more intent on creating
murals which defy the ten-
.dency of other artists to paint
for a select crowd.
Mrl
Mr. Harris, like Chang,
'in this respect, becomes align-
ed to the Mexican artists who
have resolved to work for the
people. Certainly -a compar-
ison of the prices charged by
Vaucrosson and Harris indi-
cates a difference in their
attitude to their public. The
cheapest painting by Vau-
crosson is $85.00. The most
expensive work by Harris is
the same price.
In a short while, Tri-
nidadian paintings will be dis-
played in Florida to celebrate
our Independence. One- is
hardly curious about the suc-
cessful artists. Experience has
taught that artists like Harris
will not be included.
Instead Trinidad will be
represented- by--artists-- whwy
have long since lost contact
with their Society and even
with their craft. When will it
change?


review of Step by Step,
by Maria Gonzalez.


MARIA Gonzalez, age ten
years, has just got her first
book of poems, Step by Step,
published. By so doing she,
can lay claim to being the
first child in the island to
pioneer children's poetry in
a meaningful way.
Her modest collection
of thirty two poems is neatly
produced by Rilloprint, the
pace setting p.riritery dedicat-
ed to creative writing and run
by the child's grandfather,
Mr. Otto Gonzalez,
The cover features a
pair of giant footprints,
which reflects Maria's effort,
but unfortunately we are not
told who is responsible for
the design. Moreover, no
credit is given for the tapes-
try-like columns on each page.
What is listed though, is the
fact that the book is published
by "The New Voices" of
Diego Martin.
The collection contains
a poem written by Maria when
she was four, though most of
the poems really represent
her efforts at the age of eight
and nine. The aspect of the
'collection which impresses the


VICTOR QUESTEL


V


reader is the one that frightens
the most.
I am referring to the
adult tone of the collection.
One comes to children's
poetry expecting some insight
into their world.
Step By Step dis-
appoints in that area. Maria
refuses to show us a world of
fantasy or intense play.

ALARMING

This is disturbing es-
pecially when we realise that
West Indian writers refuse to
indulge in fantasy; and now
,the young writers seem to
avoid it as well.
Is it- that from quite
young the writer in our
society sees the high level of
role playing and refuses to
encourage an already over-
developed tendency?

Whatever the answer,
fantasy is. an important in-
gredient in creative writing
and it must be encouraged
from an early age.
Maria in her poem My
Silent Playmate describes her


in


tiredness with pretending
while playing with ner doll.
She insists that the doll must
"come alive" *so as- to keep
her company.
Won't you ever blink
For my sake?
Couldn'tyou be human ?
Must I always fake ?
Many of Maria's poems
are questions about existence,
or reflect conclusions about
life. For example in her poem
'Growth' she says:-
Growth is fast,
For a little child
Who will soon get old,
And grey, and die.
Or again in her poem
Youth she says in part, "Old,
you are so unco-ordinated.
But young,you are not at all';
here the idea is simpler but
the word "unco-ordinate used
by a nine year old jumps at
the reader.
I also find the con-
clusions of some of Maria's
poems alarming. One ends,
"And so it shall go on, and
on. Until this masquerade of
life is over".
Some of her poems show
a balance between intellectual
curiosity and an easy
acceptance of religious in-
doctrination. For example in
the poem, Who Made? she


Poetry


says:-
Who made pillows?
Who made beds?
Who made the brains
That fit in our heads?

I know who,
And you know too;
But if you don't know,
God still loves you.
When Maria writes on
Subjects such as a mother's
Love or a father's love her
approach reflects a moving
tender concern that I like. But
'I wonder why she has nothing
to say about her girlfriends
or her teachers?

GUIDANCE

Her pieces on nature
though, are usually good,
especially her Sunflower,
which is one of the more
balanced poems in her col-
lection.
The only poem centered
around one of her many
activities is called, Swimming.
This poem moves more easily
than some of the others with
their abstract concerns. More-
over, Swimming is a
humourous poem and the
collection should have had
more like it.


What I am getting at is
that Maria is a talented young
poet who needs guidence. At
the moment the collection
suggests a sensitive individual
who has been left for too
long to contemplate herself
and therefore too early in
life drifted into a preoccupa-
tion with loneliness, as well
as the feeling that she must
make pretty genuflexions to
the adult world.
For example, in h e r
poem Life she says in part:-
Since cursed for that sin
Today we live,
Tomorrow we die.
From Adam and Eve
the First
To Adam and lEve the
Last
This curse s Ih a Il
con tinue
Till man sins no more
And Eden is restored.
(p. 25).
Nlaria's ability to
observe people and draw con-
clusions about thliei. as well
as about existence, is best
exemplified in her poem The
Watchman, which is Ilhe best
poem iln lte book.
Maria also lhas poems

Cont'd on Back Page.


Pioneer


TAPIA PAGE 7





"E= : TPSUNDAY JULY 28, 1974


from Page 5

'Change my arse', he shouted,
"is Independence what it is? One day.
in July you say you want to be that
there thing, an' one day in a next
July the law says all right, from now
you's whatyou askin' for. What change
that can change? Mighty we well call
a dog a cat an' hope to hear him mew.
Is only words an' names what don'
signify nothing'.
As Powell sees it freedom is a
natural right, not a privilege that any-
one can bestow. He is suspicious of
any "freedom" that is granted:
Free is how you is from the start,
an' when it looks different you got to
move, just move, an' when you movin'
say that it is a natural freedom ma kg
you move. You can't move to freedom,
Crim' 'cause freedom is where you is,
an' where you start, an' where you
got to stand'.
Powell is violent in both
language and action. Violence is his
natural response to any situation in
in which middle class people are in-
volved, in which (consequently), his
freedorh may be jeopardised. Powell's
violence takes root in his deep mistrust
of the structure of his society and
also in the fact that the society is
brutal towards members of his class.
(Throughout his fiction, in fact, Lam-


The search for freedom


ming implies that Caliban's community
is a victim of a brutality that is at
once economic, psychological and
physical).
Powell's violence reaches a peak
when he murders the Vice-President of
the republic for a motive that is not
disclosed in the novel but which-
supposedly is the man's sworn hostility
towards steel-band men. This political
murder is the climax of the precarious
relationship between the two worlds of
West Indian society.
Powell's savage fanaticism eveals
itself in another scene involving Fola
Piggott, a girl who has renounced her
middle class heritage to find her
cultural roots which are buried deep
in Powell's world. Powell almost
murders the girl because of his firm
conviction that all members of her
class are constantly engaged in a
conspiracy against his kind. This in-
tense attachment to the concept of
freedom prevents him from understand-
ing Fola's predicament.. It matters
little to Powell that Floa is genuinely.
interested in abandoning the middle
class inertia, the cultural in'authenticity
occasioned by t h e denial of the
African heritage and that she has saved
him from. the brutal assaults of a


detail marauding policeman searching
for the Vice-President's assassin.
In Powell we have another
example of a Caliban afflicted by
moral infirmity as a result of his
struggle for freedom, of a Caliban who
"saw. freedom as an absolute and
pure", with a purity, "which crippled
his mind until he could no longer see.
the act of giving and receiving as other.
than a conspiracy against himself and
his most urgent need".
In Water with Berries we follow
the fortunes of Teeton,-a black artist
living in exile in London. Teeton is
preparing to return to San Cristobal,
now in the grips of the decadent class
society typified by Jeremy Rexnol
Vassen-Jerme, the diplomat. (Naming
is one of the forms of characterisation
Lamming employs, often with de-
vastating effect: Slime, Crabbe). Teeton
is a member of a group of hardened
revolutionary exiles planning a violent
take-over of the island from which he
has been forced to flee seven years
earlier.
The impressions is given that the
revolution will not only oust a meaning-
less and oppressive regime but will
also create a climate in which artist
and soceity can be meaningfully


reconcile. Here was an opportunity
for Lamming, an artist in exile him-
self, to develop a theme relatively new
to West Indian fiction: the relation-
ship of the exiled artist to political
activity, the complex relationship of
the exile to both his homeland and
his resting-place.
The paradox ofTeeton's position,
however, is less profound and less
interesting than either Shephard's or
Powell's. His problem is how to
extricate himself from a tangled web
of relationships which he has formed'
in exile so as to be able to devote
himself wholeheartedly to the revolu-
tionary cause. A chain of tragic and
violent circumstances, however, con-
spires to make Teeton more of a
prisoner.
Teeton's predicament in Berries,
however, is not sustained. Here Lam-
ming seems to mistake complexity of
theme. Also, too much time is devoted
to issues not related to the main theme.
of the novel. Berries is a jumbled,
disjointed and melodramatic work.
Thenovel does not fulfil its possibilities
and the implications of Teeton's
predicament are not explored.
Lamming's treatment of Cali-
ban's quest for freedom is therefore
not without its shortcomings. But at
its finest moments it ranks as a
complex and compassionate study of
the most important themes in West
Indian fiction.


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Th Ame r-imcan tores


THE TAPIA HOUSE Cultural
Committee gave its first pub-
lic presentation at the Fyza-
bad Assembly on July 7th.
It was a successful experi-'
ment in political theatre.
i .........The Committeewould'--
like to do more work in
theatre and would welcome
people who are interested in
drama, as well as other aspects
of theatre.
Soon the Cultural Com-
mittee hopes to make another
effort. Any interested persons
may call Tapia House 662-5126.

Big

Pay Back
THE 'GRASSROOT DRUM-
MERS presents their "Big Pay
Back" at Blackpool Sport and
Cultural Club, Tunapuna
SRoad this Saturday July 27th.
from 8.30 p.m. till.
Vibes from Jet Set
Revival with Brass, featuring
Milton Duncan, Easts' No. 1
D.J. Fatman George and vibes-
man D.J.
Sprissy. Admission $2
and chicks will be free before
10 p.m. Bar. Buffet. Ices.


Tapiae


Jeaseys


on sale


at the


house


- -- -- --


L --i


PAGE 8 TAPIA






SUNDAY JULY 28, 1974


Fish Industry



Grows in Cuba


FISHING HAS become
one of the main branches
of the Cuban economy.
Last year, Cuba's catch
totaled 150,000 tons of
fish and other seafood.
This is the result of
15 years of fruitful work
carried out in the face of
U.S. aggression and block-
ade.
The Cuban fishing
fleets, bastions of the home-
land on the high eeas, are the
result of the revolutionary
determination to struggle for
development and- to build a
fishing industry of peak ef-
ficiency and production and
with modern technology.
Cuban fishing boats are
now unloading top-quality
-products for the use of the
people, and they provide a
considerable amount of the
resources needed to pay for
their own expenditures and
to contribute to the financing
of other national economic
activities. During 1973, Cuban


exports of seafood of all kinds
amounted to more than 35
million pesos.
The latest statistics
show that Cuba is in first
place in catches in the Carib-
bean area and in sixth or
seventh place in Latin America.
Fifteen years ago,
Cuba's catch was 21,900 tons
and she was in ninth or tenth
place within the overall frame-
work of the low fishing haul
on the continent.

INCREASE
The number of fisher-
men has not gone up signif-
icantly during the last 15
years, in spite of the extra-
ordinary growth in fishing as
such.
Productivity per man
per year increased from one
and a half tons in 1958 to
almost 11 tons in 1973. This
was the result of the technical
revolution.
The largest boats in the
fishing fleet are operated by


the Cuban Fishing Fleet and
the Tuna Fleet of Cuba.
The Cuban Fishing
Fleet which now has 22
large trawlers with the latest
equipment and navigational
aids started operations in
1962 with only five inter-
mediate-size boats. These first
boats were SRT-R trawlers,
of the over-the-side net type.
.They constituted the first
school for Cuban fishermen
and were supplied by the
Soviet Union. With them,
Cubans obtained the
necessary experience to begin
the growth of the high seas


fleet, and the Cuban flag flew
over the warm waters of the
equatorial Atlantic and even
furthersouth forthe first time

EFFICIENCY
The trawlers that drop
their nets over the sides or
along the stern usually operate
in relatively cold waters in
search of hake, electronically
detecting the schools of fish
and then dropping their nets,
bringing in a haul of many
tons.
The first trawlers of this
kind went after codfish. Later,


the sizeandefficiency of the
boats were increased and the
first factory ships which
cut off the heads, separate
the entrails and divide the
fish into fillets as well as
produce fish meal with the
waste products arrived on
the scene.
The Cuban Fishing
Fleet, an industry on the
high seas, now also contains
three high-speed refrigeration
ships that collect the catch in
different areas and bring it
back to Havana or the fishing
base in the Canary Islands,
the other source of support
in the Atlantic.
Prensa Latina


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makes and we offer a three month unconditional
guarantee against manufacturers defects.

Drive in to any of our
four fitting yards
at Eastern Main Road Laventille;
Cross Crossing San Fernando;
opposite Starlite; Diego Martin; and
112 Henry Street, Port of Spain.


4 LONG LIFE MUFFLERS

we're good.


F'-


"Tourist


Broch ur e "


Here -
Where rovers find the noon
Everlasting and unkind

To the knotted tangles of the mind
I scan the sea's ballooning mass
For the erased horizon of the past.

I too have chewed upon my thoughts
When my footsteps's spread lay unambitious
And solven at the water's path.

Like the seagull I search for reason
'To remain
Adrift over this wretched shore

Where temperature hedge Fridays
From each patterned fault
And existence continues unabsolved,

Baked like the natives
Who each day see the sun
Squeezed out of the bowels of the sea

In daily birth.
So many chapters
Of ancestry erased, mauled
By the claws of myths and bias!

Then the night drains the light
From my socket and
For centuries only darkness meditating

Over the debris of our histories.

O Dahomey! Everything is hazy.
There is milk in my blood.



(AL VIAN MASSY)


II


1


TAIPIA PAGE" 9


~






SUNDAY JULY 28, 1974


Audience

ONE OF thIe actors of 'M
Th/caire jLimtcJd I/ Kam-
pala walked to (lie edge
of the slage ;and sail dI e s lt 'lav gl
Z, :lutliencc gave \v;
Ladies and gentlemen silence.
because of the behaviour
of the audience we are It \\as Ieh
unable to continue the si'ne Ihe Ipogra
performance: vou laugh started about all
at death, maybe you.will Iha anv o1 the ac
laugh at vour mother's Imglish. In seconds
irave." The other actors i the Napilimi,
I tilned on. 11and e
applauded and walked off of hti uI,,,,,,,ll,
stige. lace.


Participation


mickey M athews


llier I the
toI tlead


It look us some time to
move friom our seats. In the
corridor of the hall, we ar-
2led *iin.ist o -rscilvre Somen


Ilisl lim e t.. '- i
1111e had argued for the players, others
coiidemined them.
houlr ago
tlois spoke contrary y t(o the news-
thle lights paper reports, lhe audience
Bowl were had not booed and though I
expressions was a little dismayed and felt
e oil evely lhumiilialed, I tdo not think
lia ll tie audience response


*0


was unusually rowdy. In any
case, I believe, that if the
show was in English and they
were enjoying it, their re-
action would have been no
different.
The San Fernando au-
dience is untrained in the
ethic of theatre and so really
unappreciative of theatre.
Late comers are never
frowned at. People in the
audience are allowed to dis-
play their emotions,. insen-
sitive. to the fact that they
might be disturbing tlie per-


--


PAGE 10 T k PI


formance.
In many ways, the San,
Fernando Drama Guild is re-
sponsible for this sad state o'
affairs. The guild persists in
feeding a series of one-act
plays to San Femando au-
diences in which the actors do
everything in their power to
"entertain" the audience. And
when this is not forthcoming,
the audience finds it necessary
to entertain themselves with
wise-cracks and heckling.

LAUGHTER
There is talk of audience
participation in theatre these
days. San Femando has al-
ways known this, however to
the detriment of theatre.
The staging of Renga
Moi by Theatre Limited of
Kampala at the Bowl provided
a classic example of "par-
ticipation" by the San Fer-
nando audience.
In the play there was
this character, the -coffin-
maker "beneficiary to the
legacy of death" extoling the
"merits of his profession."
At one point in the
play, he took the measure-
ments of one of the actors
and compared them with
those of his coffin. He was a
comedian.
When sometime later the.
priest diviner was slain, a re-
mark from a member of the
audience about the coffin-
maker brought widespread
laughter.
It was at this point that
Renga Moi came to an abrupt
end.


Fund


Raising ....


Committee

ANXIOUS deliberations
marked the meeting of the
Tapia Fund Raising Com-
mittee last Wednesday
July '17 when only a few
turned up to the home of
Paula Williams, Assistant
Secretary of Tapia and
Chairman of the Com-
mitee.
It turned out thatmost
of the notices sent out in the
mail in ample time never
arrived to alert members.
The main decision taken
was to put on another fete
at the home of Denis and
Shei!a Solomon. Possibilities
of an early bingo are also to
to explored.

*
Meanwhile in Corosal
and Diego Martin plans are
afoot for purely local fund-
rising schemes.
On Monday July 22,
the National Lxecutive also
approved the issue ol print-
ed brochure and authorized
lists in connection with our
drive to establish Tapia
cenltles a;ioss the country.
IMll lfund-lasing details
are to he published in the
July Number of the Tapia
Newsleller.
i.\l'A Ipeople interested in
hielpin oin \ itlli Ihlie liind-
I ilitt- vcnluie, ;i' e r isked.l to
coIt'clt \ ,ltic lt: l ll ri il s at
l-: p l Il lou c l I ,.nL; l;i
(*nitppci :il (.\RII~l () 2-71M '








SUNDAY JULY 28, 1974 IAhA rALjI, 11


Caribbean Ping Pong Championships


OLD


BACK from the Caribbean championships in Barbados,
our table-tennis team is quietly pondering the sad tale
that we did not reach a single final in the individual
competition.
The fact of the matter is that we left these shores a-
beaten team of players. That we did win the Men's Team
Championship is one of those wonders that never cease.
One of those fabulous feats that we keep pulling off just
to remind the powers-that-be of the kind of vital force which i,
being bottled up in this explosive country. One of those impossible
attainments like our World Cup performance in Port-au-Prince.


STORY OF




DISORDER


But we were licked be-
fore we started. Licked by
the selection, by the atrocious
playing conditions at home,
by the shoddy organisation
of the game, the pulling and
tugging...
It is an old story; and
we could be talking cricket,
football boxing, theatre or
science.
Trinidad and Tobago is
organised only for a bunch
of transients; there are no
arrangements for people, no
accommodation for permanent
effort.

0 0
It is lucky that the
team went to Barbados at all.
They had written a letter
saying that they would not
be- playing under Joey
Gonsalves as captain-coach
when the Selection Com-
mittee had selected "Reds"
Mulligan for the post.
For some strange reason
the Association had over-
ruled the Selection Com-
mittee and slapped Selection
S"'*'^" ni-frD-ave--Farrell; in--
his face.
The team was ultimately
persuaded to go along with
big-shot power but morale
and discipline in Barbados
were, from all reports, a head-
ache for Manager, Alfred
Gill.
Both Jamaica and
Guyana played better table-
tennis than we did. Among
the Guyanese in particular
the team-spirit was ex-
ceptionally good and the
technical excellence reflected
the presence of a Chinese
coach in the Mudland.
We scraped through the
Men's Team Chanpionship
partly because the Guyanese
allowed themselves to play
against our reputation from
the last championships in


Georgetown. For the other
part, Stephen. Wade played
superbly.
Technically, Darceuil is
the more skilled player but
he never seemed to have
acquired the poise of the
Champion that he started as.
Selwyn Singh who came
in when Mansingh Amarsingh
and Kelly Boucaud could not
be released for the trip, was
out of place in the company
and lost all his games.
Wade assumed the
whole of the burden. In the
final against Guyana, he beat
the formidable Edwards at
21-9; 21-18 where Darceuil
had lost 20-22; 23-21 to the
Singles Champion-to-be.
And then, at the crucial
moment, with the score at
4-3 and Singh sure to go
under in the final game, he
pulled the chestnuts decisively
out of the fire with a psycho-
logical victory over Baptiste
23-21; 17-21; 21-11.
It was a triumph for
head over hand, an exception
in the Trinidad camp.
But once Guyana made
the initial mistake of over-
rating Trinidad & Tobago,
they visibly settled down to
take charge.
They studied their
opponents from then on and
played with stamina and
purpose as well as with skill.
Edwards for example,
played four matches one day,
all with great assurance and
cool. And then he went on
the same night to win the
Men's Singles convincingly.
There was to be no
further look-in for Trinidad
& Tobago. Our women in
particularly, were hopelessly
outclassed.
Against Jamaica, Luke
lost to Mavis 6-21; 17-21, in
.9 minutes while Claire-Clarke


.' 4 ,,







lost to De Souza 16-21; 16-21;
in 13 minutes.
Such was the annihila-
tion that in the doubles our
pair lost to Mavis and De
Souza 11-21; 10-21.

0 @
Mince meat all the
way; Boucaud and Calpu were
sorely missed. The only con-
solation for the women was
that the men fared no better.
Now we are licking our
wounds. The time has come
to take stock.
Playing conditions in


PLAYING conditions are
never going to improve in
table-tennis or anything
else unless we introduce
sport into politics. With-
out doubt, the depressed
conditions of sport is a
deeply political question,
part of the constitutional
crisis in fact.
As in the case of art,
education, health,.police and
community development in
general, there will be no-relief
until we put .up proper-
national organisation to suit
the needs of people.


Barbados were certainly sub-
standard. While the Comber-
mere centre was passable,
some important games were
played at the UWI, Cave Hill,
where the roof was too low
and the area too cramped. A
long looper like Darceuil
certainly suffered.
The umpiring was not
perfect but it was not
noticeably biased. Perhaps a
premature calling of the score
upset Selwyn Singh and built
up the tension which led him
to walk away from defeat
without shaking hands with
Baptiste of Guyana but the


And to talk about
proper national organisation
is to talk about proper local
organisation. The two -go
together as a matter of course.
In table tennis, the
major reform that we need is
to make the zones meaningful
areas of organisation and
decision. The salt of table-
tennis must be -. organized
programme of z o n e
Championships phased
systematically over the year.
With Tobago in its
rightful place, there would
be eight zones, the rest being
Port-of-Spain, East St. George,
Arima, Caroni North, Caroni
South, San Fernando and the
Colleges' League.
The number does not
matter, it will.expand. What
is important is that each zone
hold regular Championships
at the same time every year
including club championships
and individual championships
at the zone lovcl as well as
Invitation singles and doubles
for all national players.
Sustained activity of
this kind would allow the
publication of meaningful
national rankings at quarterly
intervals and this would build
discipline and purpose and
aid selection.
Perhaps the national
team should always be
selected from among a "train-
ing group" of the top 24
players including say 4
juniors, 6 women and i4 men
or some such proportions-


incident was blown up out of
all proportion.

Our real problem in
Barbados was that both
Guyana and Jamaica sustained
an improved table-tennis
while Trinidad & Tobago were
ragged and indisciplined.
The reasons for this-
mis-use of our talents are to
be found right here at home.
Who would imagine that
we could have entered the
mixed-doubles without ever
having practised? And that
was a sign of the general state
of things.


Sustained activity at the
zone level would of course
be enriched by Northern
Championships, Southern
Championships and National
Championships.
To service such activity
the Table Tennis Association
would need to be vigilant
about playing conditions. It
would have to approve playing
centres in each zone and see
that they are properly
equipped and maintained.
The Association would
also have to provide and
distribute coaching assistance
in a much more serious way
than at present.
It is said that a number
of Chinese coaches have been
secured and are waiting for
permission from the Govern-
ment to come and start work.
The better long-term
arrangement would be to
send suitable players abroad
to acquire expertise and
coaching skills.

The final adjustment
that we need to make at once
is to give the Selection Com-
mittee the final say.
A Committee of 3
would do very well, three
people able to do the joh,
regardless of their zone
affiliation. Then let the As-
sociation stay out of the way.
It is not going to be
easy to break old habits hut
we must make a start. Other-
wise table-tennis is going to
be left behind.
l.lov'd Hcst


AN


Stock Taking needed in


T&T Table Tennis


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PORT OF SPAIN SAN FERNANDO





-- 1


SUN DAY JULY 28,11974


I AVIA rkir, -1


-A-









Ura. Andrea Talbutt'
?ese;jIrch I st-tute
Stud1 f
162, )~aEst 78th S.-
Y.. 10,
Uh. S..jj _


Tapia people at work and play last year on the Blackgold Co-operative farm


IN WHAT may perhaps be
the dance yent of the year,
the Repertory Dance Theatre
-under the artistic direction
of Astor Johnson, presents
its July season.
An-aitay of Dance Talent
including pebra Parray,
Norline Metivier, 'Carol la
Chapelle, Claudia Apple-
white, Henry Daniel and
Wilfred Mark would be on
,show this season.
Five new works which in-
clude "Opus." "Etude,"


"Schooldays," and "She"
are going to be presented.
'The highlight or this years
season, however, will be a
revival of the forty-minute
work "The Defiant era."
This piece is based on C.L.R:
James' study "The Black
Tacobins" andc features
Henry Daniel in the main
role.
Another unique feature
will be the voices of the New
World Performers Choir al-
ready one of the Tinest mixed,


voice choirs in the country.
Their voices will be accom-
panying many of the dance
pieces thus giving a new di-
mension to the R.D.T. pre-
sentation.
Andre Tanker has also
composed a special score for
.He Bn c ,,l'" i-E,
based on a theme written by
lasana Kwesi, a local poet.
Tickets for performances
can be held at Kirpalanis '
Electric Frederick St. and
Stephens Ltd. San Femando.


Performance dates are Friday
26 July, Sat. 27 and Sun. 28
at Queens Hall. On Tues. 30
there will be one perfor-
mance at the Naparima
Bowl .


H-lt TAPIA meeting scheduled for
Sangre Grande Thursday evening
ast failed to come off owing to
malfunctioning of the P'A. system
[he cancellation of the meeting


Council


Meeting


at


Corosal

COME -SUNDAY JULY
28th Tapia will be hold-
ing its monthly Council
of Representatives meet-
ing at Corosal. This is in
keeping with Tapia's pol-
icy of holding these
monthly Council meetings
across the country. Pre-
vious meetings have been
held at St. Augustine and
Palo Seco.
A notable absentee at
the meeting will be Tapia
Chairman Syl Lowhar who
will be doing duty as guest
speaker at the Annual Con-
vention of the Communica-
tion and General Workers
Union in Port of Spain.
Council members wil
also be lunch guests of the
Corosal Tapia Group.
The Corosal Group is
also planning an excursion
to Mayaro on A-_--4 -


Interested paiesmay contact
members in Corosal or,call
Tapia House at b 2-5 126.


was a sore disappointment for the
largee crowd who had gathered trom
early, and dit. is intended to re-
schedule the meeung at an early date


Pioneer in Poetry


From Page 7

about Christmas; as well as
poems celebrating the ten
years of Indpendence of
Trinidad and Tobago, all
written at the age of eight.
Maria uses a very basic
.rhyme scheme in most of her
poems, but the title-poem
Step By Step .is a beauty in
terms of style, and has to be
read from the bottom up-
wards. The poem in fact is a
summary of the .poets'-aim,
"to understand the changes
in Life", step by step. A
giant task for one so young.
Given that Maria seek,
to understand the changes in,
Life, it is only natural that
she looks at the international
scene. It is all there in her
poem War and Peace in whicli
she states that this war torn
world needs peace. A good
poem.
In terms of skill at
rhyming, it is only once that
Maria sounds false, and that
is in 'the poem Carnival in
Trinidad, where by choosing
the word "pearls" so as to


get a rhyme with "girls" she
spoils her poem since "pearls"
jolts the mood. Finally it
must be said that she seldom
uses the word "like" in her
poems, and for one so young
this is very surprising.


Jn future Maria should
try to get more humour and
fantasy into her work, and
should attempt to create
poems around popular folk
stories. She should also write
so as to test her vision of the
world, and not to state the
adult's vision.
If at times I sounded a
little demanding, it was to
avoid being patronising as can
so easily happen when com-
plementing a talented child.
I can hear her Muse
saying, ''Maria you may take
one baby step", and Maria
asking, "May I", and her
Muse saying, "No you may
not;.take two giant steps".
Well, with the publishing of
Step by Step..she certainly
has!.


PRINTED AND PUBLISHED BYTHE TAPIA HOUSE PUBLISHING CO. LTD. : 1 TUNAPUNA ROAD, TUNAPUNA 662-512B


C


- ~P------ ~ -- ---


or


I -j


- 1 -- --


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