Black Panther – A review

Reviewed by: Jarryl Bryan

Black Panther is a superhero flick centred in the fictional African country Wakanda. After his father’s death, Crown Prince T’Challa (Chadwick Boseman) ascends the throne. However, his position is soon challenged when mistakes of the father come to haunt the son. He and his allies must fight to keep their kingdom from falling into the wrong hands and plunging the world into a new age of vengeful imperialism.

This isn’t the first time the Marvel Cinematic Universe has put a black superhero on the big screen, but when one considers all facets of Black Panther, it is clear that this Ryan Coogler project has broken numerous barriers on its way to being a box office hit.

Centred in a fictional kingdom called Wakanda, the film’s central premise dismantles both the historical and contemporary stereotype of the African continent. Africa is typically depicted as a war-torn, aid-dependent and deeply impoverished continent. Black Panther, on the other hand, offers a fresh, optimistic portrait of what Africa may have been had its natural resources been jealously guarded against the greed and corruption of colonialism.

Black Panther posters in London

The film explores familiar themes mainly the differences in the father-son relations among the royal family. Additionally, it shows how diverging ideological principles can lead citizens to either betray their country or remain fiercely loyal to it.

The most outstanding theme focused on Erik Killmonger (played by Michael B. Jordan), who pointed out the way Wakanda alienated millions within the African diaspora by ignoring 400 years of turmoil. Killmonger plans and tries to execute a radical plan to free both continental and diasporic Africans from economic and social bondage by utilising Wakanda’s advanced technology and weaponry.

Killmonger’s masterful character development divided audiences and made the film memorable. On the one hand, people love him because he exemplifies the collective longing for their ancestral homeland. Simultaneously, he is a brutal killer uninhibited in the least by compassion for those who stand in his way.

Many new Marvel fans were also drawn to the movie because it featured women in unprecedented positions of authority in a superhero flick. T’Challa’s elite royal guard, the Dora Milaje- is an elite, all-female team lead by Okoye (Danai Gurira), a fact that shattered glass ceilings long before the official release. Additionally, Wakanda’s best technical and scientific genius is his little sister, Princess Shuri (played by the Guyanese Letitia Wright).

Of course, nothing is perfect. With the amount of detail put into multiple, richly complex characters and their backstories, it was difficult for the film to give the Black Panther himself the screentime he deserved. The fighting sequences featuring Black Panther, while impressively choreographed, were too few and left audiences wanting more.

This is a peripheral concern, however, and I do not believe it detracts from the movie’s overall effect. It awakened black consciousness and pride globally while offering an equitable representation of a much-maligned race on the big screen. Everyone, particularly children, can take important social cues from this movie. On that basis, I highly recommend this film.

Skin Teeth Nah Laugh – A Review

Reviewed by: Simone Moriah-Phillips

“Skin Teeth Nah Laff” is a local, satirical comedy written by Michael James and directed by Godfrey Naughton Henry. It was first staged in Linden and was revised by Top Cat Arts for a two-night showing at the National Cultural Centre. I attended the first showing 8:00 showing on March 3, 2018.

“Skin Teeth Nah Laugh” programme covers

The play is about the way relatives may prey on their vulnerable family members for their own gain. It opens in Uncle Pap’s (played by Godfrey Henry) home, where he and his nieces and nephews reside. Paps is recovering from a stroke and his niece Denise (played by Donna Fanfair) and nephews – the differently-abled Orwin (Frederic Minty) and his brother Desmond (Kevin Kellman) – are expected to care for him. Accompanying the triple threat trio are Allison (played by Akeisha Gaul), the nosey neighbour and Desmond’s girlfriend Alice (Tristana Roberts).

Originally, Uncle Pap’s family members neglected and abused him, but once they realised that he had a sizable inheritance in waiting, they created factions among themselves and changed their attitudes to try to woo their ailing uncle.

The play’s content was quite relevant to our Guyanese and broader Caribbean context. Many elderly persons are still cared for at home by family members rather than at designated retirement homes. Thus, setting the play in Uncle Pap’s house was quite appropriate as the furniture props helped to establish the right atmosphere.

One critique of the play’s set up was the lighting. There was only one floodlight maintained throughout the play, which faded in and out at the end of scenes. However, no other lights were used to accompany changing moods. The stage managers used the same kind of lighting during both humorous and darker moments. To make up for this, the stage managers focused more on the sound effects to set the mood and draw the audience’s attention.

“Skin Teeth Nah Laugh” programme details

The actors’ pace and energy throughout their performances were commendable. Their dialogue included both modern and old creole slangs which helped the audience relate to the content. The most notable of the performers was Donna Fanfair. While depicting Denise’ greed, she poured a lot of vibrant energy into her flamboyant character. She engaged the audience with her teasing exchange of audience with the other cast members, easily making her the star of the show. On top of her brilliant performance, she served as Co-Stage manager throughout the show with Oneilka Bacchus.

Minty’s character Orwin was a bit problematic. The play depicted Orwin’s physical deformity with exaggerated gestures and unusually loud dialogue.  Though the audience seemed to love him and laughed heartily whenever he was on stage, the depiction was quite offensive to the disabled community.

Overall, the play was still enjoyable. It was noisy, but its message about the neglect and abuse of the elderly was strong and relevant. While it did not get a standing ovation from the audience, it was well received. Should it return to the National Cultural Centre in the future, I would recommend it for persons of all ages, but I would warn that it fails to be sensitive to persons who are different.

“Haul ya a**, Venezuela!”

Reviewed by: Julianne Gaul

Anticipation and yearning adorned the faces of the affectionate fans who turned out in their numbers to be entertained by legendary Guyanese international artiste, Tradewinds vocalist, and University of Guyana’s Distinguish Artist in Residence, Dave Martins. On Sunday, February 25, 2018, he performed live at the “Is we own” concert at the Kingston Seawall Bandstand.

Dave Martins has produced over 100 songs reflecting the rich, diverse and unique culture of the West Indies. Martins rhythm is a blend of calypso, soca and folk music with a splendid fusion of humour which captures the various West Indian dialects, cultures and socio-political issues.

The show got started a little after the 17.30hrs scheduled time. The Deputy Vice-Chancellor of Philanthropy, Alumni and Civic Engagement (PACE), Dr Paloma Mohamed, introduced the legend amid loud cheers from his loyal fans.

The singer introduced the members of his band: the keyboardist Oliver Basdeo, the bassist James Jacobs and the drummer Colin Pereira, whom Martins jokingly referred to as a “microcosm of Guyana.”

The intro was “You can’t get”.  This song was about men who could not get (a woman) regardless of how persuasive they were. Fans sang along loudly while moving to the beat of the accompanying instruments. The icon then dove into several of his classics, catchy songs like “Where are our Heroes”, “Boyhood Days”, “Copycats” and “Is we own”.  Martins’ natural timbre added to his structured and witty performance.  The band spiced up the concert with loops that added homophonic texture to the songs.

Some of the songs, Matins said, were originals, but others were based on his experiences and observations. The line in Boyhood Days “remember peeping at two lovers in de grass” was one of them, he noted. The comedian told his adoring fans the story of how he and a few friends were caught peeping “a fella doing strokus [sex]” on Parade Ground to which the audience responded with loud laughter.  That is where that line originated, he said.

Some of the fans said they had to come to hear their childhood icon perform live and he did not disappoint.  For others, it was an entertaining and highly-listenable performance when compared to the other dancehall artiste concerts. Among those in attendance were Minister of Telecommunications Cathy Hughes, the former chairman of GECOM, Dr. Steve Surujballi, and his wife.

I grew up listening to Martins’ music on the radio.  This concert was a once in a lifetime opportunity to hear Martins sing free of cost.  It was a great experience and lived up to my expectations.

The concert concluded with a favourite anthem amongst Guyanese, “Not a Blade of Grass,” to which I joined the crowd and sang along lustily, patriotically and emotionally. Martins inserted a new line directed to our western neighbour “Haul ya ass Venezuela!” he sang, to loud approval from the crowd.

The concert was organised by UG’s public relations department and PACE as part of UG’s Mashramani celebrations.

It was a beautiful and highly-rated performance.

 

The Underground Railroad by Colson Whitehead

Reviewed by: Nikita Blair

“It was her grandmother talking that Sunday evening when Caesar approached Cora about the underground railroad, and she said no. Three weeks later, she said yes. This time it was her mother talking” pp. 8

The Underground Railroad is a Pulitzer Prize-winning novel by Colson Whitehead. It revolves around Cora, a second-generation Georgian slave girl living on the northern half of the Randall Brothers’ Plantation. Her mother Mabel was the Randall plantation’s first successful runaway. However, when she ran, Mabel left her 10-year-old daughter behind.

When James – the more lenient Randall – dies and Terrence Randall combines the halves under his cruel hand, the now teenaged Cora is forced to decide: stay and endure her new master’s torture or accompany her friend Caesar north via Underground Railroad. She chooses the latter, escapes the plantation, and is surprised to find a real underground railroad (steam trains, platforms, and unpredictable schedules included) waiting to usher her into a newer, freer life.

However, the infamous, cross-country slavecatcher named Ridgeway is hot on her trail. He had hunted for her mother in vain and never got over her miraculous disappearance. Cora is determined to get away from him and he is determined to make amends for his failures.

Depiction of a Runaway Slave

I learned about Whitehead’s unique portrayal of 1820’s slavery from The New York Times shortly after its release. While other contemporary black history writers like Lailia Ibrahim and Isabel Allende focus more on the facts of slavery, Whitehead follows in the footsteps of the legendary sci-fi novelist Octavia Butler by adding a fantastical spark to his portrayal of the Underground Railroad. He reminds us that it was a network of people helping runaways travel north while depicting the system as the predecessor to the modern subway station. Just like the actual Underground Railroad, it was shrouded in mystery and performed its services as best it could under unideal circumstances. This detail may be a critique of the modern, underfunded and often dysfunctional subway system in Colson’s native Manhattan.

However, the story’s focus was not just the railroad, but Cora’s experiences as she used it to travel further away from Georgia. To the reader, her most obvious antagonist is Ridgeway, and his recurring appearances help to advance the plot. Subtly, Whitehead indicates that Ridgeway is only a single physical manifestation of a greater, overarching system of oppression. As Cora goes further north, she encounters many more policies, traditions and attitudes which threaten her livelihood and freedom.

By editrrix from NYC – Colson Whitehead @ BBF, CC BY-SA 2.0, Link

Throughout the book, Whitehead shows most of his critiques through his exquisite, diction – through which he uses a mixture of Ebonics, standard English and the various literary devices. He often combines foreshadowing and analogy to show the origins of oppression in the north. He starts with the northern and southern halves of Randall, which he described as such:

“The northern half had always relished their easier climate. James was as ruthless and brutal as any white man but he was the portrait of moderation compared to his younger brother [Terrence]. The stories from the northern half were chilling in magnitude if not in particulars.” pp 44

He maintained this analogy throughout the book to contrast the American North and South, thus hinting to the reader that the North was consistently complicit in some of the most brutal human rights violations at the time.

One reviewer argued that Colson’s mixture of storytelling and history lessons made the book somewhat off-putting. I disagree. Other contemporary black writers like Nicola Yoon also use this mixed strategy to give context to the events in their book. Colson uses these teaching opportunities to show his audience the brutal and subtle realities of slavery, thus allowing the readers to immerse themselves fully in Cora’s world.

Ultimately, Whitehead’s book was a clever critique of America during the Antebellum Era in the 1800s. His style was brilliant and his execution easy to read, but he still managed to insert some profound historical lessons into his text. I would recommend this novel to anyone who is interested in African American history. However, be warned. Whitehead is heavy-handed about the most gruesome aspects of slavery from beatings, to lynchings, to roastings. Readers discretion is advised.

The Duke – A Review

Reviewed by: Lisa Das

 

The Duke Lodge lounge

 

The Roraima Duke Lodge launched its dining gallery called The Duke on February 28, 2018. The Duke is Guyana’s first art gallery and restaurant which serves a variety of Guyanese dishes to patrons while they are surrounded by artwork done by talented local artists.  It is a place created for art connoisseurs to dine or hang in an art atmosphere.

The Duke is much different from other local galleries countrywide. It is open for undiscovered, young, local artists to showcase their pieces to patrons while they have their meals. These pieces are not only on display but are on sale for interested customers.

The pieces were displayed all around the lounge, even near the entrance and seating area. These paintings ranged from the vibrant and colourful to the solemn and thoughtful. Each painting had an accompanying plaque with artist’s name, the name of the piece and the cost for interested collectors. The lights above them helped the audience to get a better view of the details up close and from a distance.

Several pieces that stood out in the gallery were Sunset Serenity by Cristal Simmons, El Dorado 50 by Tammy Walker and Sunset in Lethem by Courtney Douglas.

The warm reds, oranges and yellows used in Simmons’ representative piece Sunset Serenity were eerily contrasted by the jet-black silhouette in the foreground. It made the image seem spooky from afar, but it was still captivating up close. The curator noted that it was the first painting sold from the collection.

 

 

Sunset Serenity by Cristal Simmons

 

 

El Dorado 50 was even more unique. It depicted Guyana’s 50th independence anniversary with sophisticated detail and classiness reminiscent of its environs.

 

El Dorado 50 by Tammy Walker

 

Sunset in Lethem by Courtney Douglas depicts a sunset over the Guyanese savannah lands. It uses a similar colour palette to Simmons’ Sunset Serenity, but the additional dark blue hues blended into the surroundings as if the walls’ blackness was the fast-approaching nighttime darkness. The colours intertwine to trap your attention, enticing the audience and making them want to visit the Rupununi. It was a brilliant representation of life beyond the Georgetown proper.

 

Sunset in Lethem by Courtney Douglas

 

By showcasing and supporting young talented artists Duke Lodge provides a unique, classy environment where persons can appreciate Guyana’s local talent. It also helps to break the lack of pride and appreciation for Guyanese artwork by ensuring that it continues to hold major significance in our society’s culture.

Anyone can walk in The Duke to admire local expressions of superb creativity while lounging, wining and dining. Both young and old, famous and undiscovered artists have made The Duke “a place for dreamers”, and with the aura it provides allows Guyanese to experience something new with a local spin to it. The Duke is a must visit if you want to enjoy a new iteration of Guyana’s art scene while enjoying the comforts and delights of fine dining.