'I Want To Build': An important Guyanese musical achievement
Celebrating our creative personalities
By Vibert C. Cambridge, PhD
Stabroek News
February 15, 2004
The uniformed services have made invaluable contributions to Guyana's cultural development.
Through this series we have started the exploration of the contributions of the B G Militia Band and its successor, the Guyana Police Force Band, as well as contributions of individual members such as De Abreu, Fredericks, Knights, and Phoenix. We have alluded to the world-class compositions of Briggs, De Cambra, and Nichols. There is still much work to be done. For example, we still have to explore the contributions of Major S W Henwood.
From 1974 and through the 1990s, another uniformed service, the Guyana National Service (GNS), also made a contribution to Guyana's cultural development. The constitutional origins of the Guyana National Service are to be found in the January 1974 debate in the National Assembly.
The operational history has two elements: the first staff trainee course, which started in February 1974, and its transfer to the Kimbia Training Center, Berbice River, in May 1974.
For Forbes Burnham, "National Service [was] intended to be the principal instrument to ensure the emergence and development of the type of Guyanese men, women and youths essential to the prosperity and furtherance, and indeed the survival of the nation."
According to Janet Jagan, many of the goals of the GNS: "opening up the hinterland"; "for the youth to be oriented to use their hands and not scorn manual labour"; "the development of necessary skills for nation building and the attitudes that go with national development"; "the sharing of common experiences and the working together of all racial groups with the objective of bringing them together," were laudable. However, she did not agree that GNS was the most viable vehicle to for the achievement of those goals.
The Guyana National Service became a fact of life in Guyanese society, and its influence was felt in music, dance, the spoken word, publishing and art. It was part of Guyana's experimentation with socialism. GNS was in the 'vanguard' of ideological art.
The late Gora Singh, writing in 1976, described ideological art as helping Guyanese move away from "the hard rock stuff and the unimaginative imitating of the foreign message." He concluded that ideological art "[provided] the medium through which we can mobilize our Nation to resist cultural aggression."
The vehicle for performing this task in the formative days of the GNS was the Mobile Theatre and Culture Corps (MT&CC), established and led by Gora's mother, the late Captain Rajkumari Singh, AA. The group attracted many of the nation's important creative personalities. Among them were Sam Bennons, Ivan Critchlow, Mahadai Das, Guska, Daisy Panchu, and Rector Schultz.
The MT&CC, which toured "the length of Guyana always seeking out new talent, dance steps and musical expression to refine and incorporate in their portfolio," has been described as "turning raw expression into dance and song."
By the mid-1970s, the MT&CC was described as "second to none with their representations of ideological art." The members of the group were considered exemplars - comrades who were committed to the socialist revolution and who were actively engaged in the national development project. This gave them a particular authenticity.
According to an observer, the members of the MT& CC were not only performers; they were educators, using their craft to educate the society about "the meaning and urgency [of] the revolution."
An important achievement from that era in Guyanese cultural life is the album I Want to Build. It was initiated by Colonel Desmond Roberts, Director General of GNS from 1979 to 1981.
He got the idea during a visit to the Zambian National Service. Listening to some 1,200 Zambian National Service recruits singing the African Liberation Song on their drill square was an indelible experience. He realized that no effort had been made to record the songs that had emerged from the Guyana National Service experience.
According to Roberts, the new conditions of the 'bush' gave rise to expressions in music and dance from young people who were far away from their families but had a camaraderie born of shared experience. This creativity was refined and showcased during the many visits to GNS centres by heads of state like Nyerere, Kaunda, Tolbert, and delegations from the USSR and other countries in solidarity with Guyana's socialist thrust.
The album, which was to be the first in a series, was recorded at the Film Centre, and presented twelve songs composed in the GNS during the period 1974 to 1976. Collectively, the songs encapsulated important moments in the development of GNS, memorialized personalities, and described the experiences of pioneers.
For example, the song I Want to Build, composed by GNS staff in 1974, is often associated with the first Great March done by 280 pioneers from Kimbia Centre to the National Park in 1975 - a distance of 160 miles.
New Guyana Man, composed by Corpswoman Gillian John, evokes the memory of her tragic death, along with Sgt Major Winston Wilson and six other pioneers who died when a tree fell on them during a windstorm at Papaya Training Centre.
Her lyrics tell the story of the founding of Papaya Centre. "Beneath the Imataka/Where papaws once grew wild/We have carved another centre/On that glorious day in May/At Papaya Training Centre/We have lived we have learnt/All the skills and the foot drills/To make a new Guyana Man."
The Pineapple Song, written by Rector Schultz and Ganesh Persaud at Tumatumari, reflects on the agricultural activities of GNS. Schultz also composed the instrumental Rocks, Rapids, and Rhythms, which celebrates the Tumatumari Falls.
Other songs that speak to the agricultural activities in the GNS are The Cotton Song, composed by Rajkumari Singh. The Cotton Song is not only a testimony to the staff and pioneers who re-introduced cotton to Guyana; it was also a tribute to the enslaved Africans who had grown it before.
The album also features songs that express ambition and aspiration. Ahwee gon build Guyana, composed by Daisy Panchu in 1975, predicted that "with National Service we will change Guyana."
The Director of Music for the GNS was the late Maurice Watson. He composed the song Wuk Comrades. It exhorted the pioneers and staff "to sing a song to make the wuk feel light." After serving the GNS, Watson returned to the Guyana Police Force to become Director of Music of the Guyana Police Force Band.
Guyanese folklore was also evident in the songs composed by pioneers and staff in the GNS hinterland centres. The song Macadingo, also composed by Maurice Watson, referred to the resident spirit at Kimbia.
The song Steamer Day, still another Maurice Watson composition, was inspired by Major Pelham V Van Cooten, retd, who was responsible for signing leave passes. As the song's chorus says, Sign me leave pass fuh go home/Mister Van Cooten/We wan' go home fuh see all we family."
Sgt Terry Blackman composed the optimistic song We are building. His lyrics stated, "We are building/We are building/We are building this land that we love/With the forests and the creeks/Agriculture as our means/We can make it - Yes Comrades we can't lose."
Four ensembles performed on the album. These were the military band, the steel band, the choir, and the rhythm section. In addition, there was a guest appearance by the New Redeemer Lutheran Choir, conducted by Edith Pieters.
There were many accomplished musicians in the GNS at the time of the recording. As indicated earlier, the Director of Music was the late Maurice Watson, a versatile musician with experience in pop, jazz, and military music. He was a member of the legendary Rhytmaires during the recording of Sohanni Raat. He was the bassist on the memorable jazz album Jazz 560 with Hugh Sam, Art Broomes, and Harry Whittaker. Under his leadership Raymond Hamilton, Eon Wilson, Terrence King, Terrence Richards, Douglas Stewart, Joseph Melville, Earl Cox, and Juel Thom were moulded into a credible military band.
The leader of the steel band was the talented Sam Bennons, formerly of the Guyana Youth Corps. He soloed on double tenors. His band included Courtney Tim, Glenmore Gordon, Wesley Hurst, Leon Bizette, Lennox Trotman, and Oswald Joseph. Bennon's versatility has won him a place on the roll of honour that is displayed at Roy Geddes's museum to steel band at his Roxanne Burnham Gardens home.
The choir included David Dewar, the soloist on the Cotton Song. His deep bass voice attracts attention to the story that unfolds. The guest choir on the recording of I Want to Build, was from the New Redeemer Lutheran Church. The choir was conducted by Edith Pieters. According to Roberts, this decision was to ensure that high recording standards were achieved and maintained. Pieters not only had an established national reputation for conducting choirs, she had significant experience preparing choirs for recordings.
The rhythm section included Persis Ceasar on the piano, Rector Schultz on guitar and bass, Edward Samaroo on the dolak, Charles (Bongo Charlie) Agard on the bongos, and Lennox Trotman on the tambourines and the dantal. These were not only experienced musicians they were also innovators. This attribute is evident in the Daisy Panchu's Chutney precursor, Ahwee gon build Guyana.
Daisy Panchu was a memorable woman who came from humble origins. She was a founder member of the MT&CC. Her contributions to Guyanese music demand separate examination.
The GNS album remains an important cultural artifact from Guyana's period of socialist experimentation - the era of critical support. It reveals a deliberate attempt to bring together the nation's racial communities to create cultural products that transcended particular identities. It is also an invaluable record of the spirit of the times and a clear example of the continued use of music as a vehicle for national mobilization.
During this 30th anniversary year of the GNS, the nation needs to spend a rancour-free moment to evaluate the contributions of GNS to Guyanese society. While the GNS had its warts, it provided opportunities for young people to express their cultural talents.
As a former Director General has noted, "Our 'sin' was expanding too quickly, leaving the administration of many of these programmes to inexperienced or insufficiently trained staff, unable to separate functionality from discipline when faced with punishing deadlines. However, it was from these conditions that the music was produced."
Thirty years later, the GNS album is a tribute to the tenacity of MT&CC. That unit did not have it easy. As Director General Roberts noted, it "survived often hostile treatment in a military, construction and production environment within the GNS and on the centres."
The GNS did create a cadre of leaders. It demystified the hinterland and fostered long-lasting friendships. Maybe during the rancour-free examination efforts can be made to collect the music that was created between 1976 and the retirement of the colours.
The Director of Music for the Guyana National Service (GNS) was the late Maurice Watson. He composed the song Wuk Comrades. It exhorted the pioneers and staff "to sing a song to make the wuk feel light." After serving the GNS, Watson returned to the Guyana Police Force to become Director of Music of the Guyana Police Force Band.
Guyanese folklore was also evident in the songs composed by pioneers and staff on the GNS hinterland centres. The song Macadingo, also composed by Maurice Watson, referred to the "resident" spirit at Kimbia.
The song Steamer Day, still another Watson composition, was inspired by Major Pelham Van Cooten (retd), who was responsible for signing leave passes. As the song's chorus says, "Sign me leave pass fuh go home/Mister Van Cooten/We wan'go home fuh see all we family."
Sgt Terry Blackman composed the optimistic song We are building. His lyrics stated, "We are building/We are building/We are building this land that we love/With the forests and the creeks/Agriculture as our means/We can make it - Yes Comrades we can't lose."
Four ensembles performed on the album. These were the Military Band, the Steel Band, the Choir, and the Rhythm Section. In addition, there was a guest appearance by the New Redeemer Lutheran Choir, conducted by Edith Pieters. There were many accomplished musicians in the GNS at the time of the recording. As indicated earlier, the Director of Music was the late Maurice Watson, a versatile musician with experience in pop, jazz, and military music. He was a member of the legendary Rhythmaires during the recording of Sohanni Raat. He was the bassist on the memorable jazz album Jazz 560 with Hugh Sam, Art Broomes, and Harry Whittaker. Under his leadership Raymond Hamilton, Eon Wilson, Terrence King, Terrence Richards, Douglas Stewart, Joseph Melville, Earl Cox, and Juel Thorn were moulded into a credible military band.
The leader of the steel band was the talented Sam Bennons, formerly of the Guyana Youth Corps. He soloed on double tenors. His band included Courtney Tim, Glenmore Gordon, Wesley Hurst, Leon Bizette, Lennox Trotman, and Oswald Joseph. Bennon's versatility has won him a place on the roll of honour that is displayed at Roy Geddes's museum to steel band at his Roxanne Bumham Gardens home.
The choir included David Dewar, the soloist on the Cotton Song. His deep bass voice attracts attention to the story that unfolds. The guest choir on the recording of I Want to Build, was from the New Redeemer Lutheran Church, and was conducted by Edith Pieters. According to Roberts, this decision was to ensure that high recording standards were achieved and maintained. Pieters not only had an established national reputation for conducting choirs, she also had significant experience preparing choirs for recordings.
The rhythm section included Persis Ceasar on the piano, Rector Schultz on guitar and bass, Edward Samaroo on the dolak, Charles (Bongo Charlie) Agard on the bongos, and Lennox Trotman on the tambourines and the dantal. These were not only experienced musicians, they were also innovators. This attribute is evident in Daisy Panchu's Chutney precursor Ahwee gon build Guyana.
Daisy Panchu was a memorable woman who came from humble origins. She was a founder-member of the Mobile Theatre and Culture Corps (MT&CC). Her contributions to Guyanese music demand separate examination.
The GNS album remains an important cultural achievement from Guyana's period of socialist experimentation - the era of critical support. It reveals a deliberate attempt to bring together the nation's different racial communities to create cultural products that transcended particular identities. It is also an invaluable record of the spirit of the times and a clear example of the continued use of music as a vehicle for national mobilization.
During this 30th anniversary year of the GNS, the nation needs to spend a rancour-free moment to evaluate the contributions of GNS to Guyanese society. While the GNS had its warts, it provided opportunities for young people to express their cultural talents.
As a former Director General has noted, "Our 'sin' was expanding too quickly, leaving the administration of many of these programmes to inexperienced or insufficiently trained staff, unable to separate functionality from discipline when faced with punishing deadlines. However, it was from these conditions that the music was produced."
Thirty years later, the GNS album is a tribute to the tenacity of MT&CC. That unit did not have it easy. As Director General Roberts noted it "survived often hostile treatment in a military, construction and production environment within the GNS and on the centres."
The GNS did create a cadre of leaders. It demystified the hinterland and fostered long-lasting friendships. Maybe during the rancour-free examination efforts can be made to collect the music that was created between 1976 and the retirement of the colours.
Sources
National Service for the Co-operative Republic of Guyana. A State Paper presented to the National Assembly by Hon. L. F. S. Burnham, O.E., S.C., M.P., Prime Minister, December 20, 1973.
Gora Singh. 'Ideological art: new approach in Guyana - Cultural Revolution bold step in development thrust.' Sunday Chronicle, December 14, 1976.
Janet Jagan. An Examination of National Service. Georgetown, Guyana : P.P.P., July 1977.
Communication Division. This is Guyana National Service. Georgetown, Guyana : Guyana National Service, 1980.
Guyana National Service. I Want To Build. (LP). Georgetown, Guyana : Guyana National Service, circa 1980.
E-mail correspondence with Colonel Desmond T Roberts, retd, February 3, 2004.