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by Randy GoPaul
In a scathing letter published recently, revered Guyanese artist and historian Stanley Greaves has pulled back the curtain on the growing authoritarian tendencies of Charles Ramson Jr., the current Minister of Culture, Youth, and Sport. His shocking revelations expose a Minister who is bent on usurping cultural institutions, sidelining professionals, and tarnishing the legacy of artistic independence at Castellani House, home to Guyana’s National Collection of Art.
Greaves, a cultural icon who has dedicated his life to the promotion and preservation of Guyanese art, expressed his refusal to hold a planned 90th birthday exhibition at Castellani House due to the Minister’s dictatorial behavior. His message was clear: Ramson’s actions signal a gross overreach and a dangerous shift away from the long-standing tradition of curatorial independence at one of Guyana’s most cherished cultural institutions.
For decades, Castellani House has operated under the stewardship of qualified curators, individuals with the expertise, knowledge, and respect for the arts necessary to manage such an important space. Denis Williams, Guyana’s first Director of Art, understood the importance of maintaining a separation between political oversight and artistic expression. Since 1975, the curatorship of Castellani House had been held by individuals who were deeply invested in the cultural life of the nation, from Everly Austin to Elfrieda Bissember.
However, all that changed under Ramson’s leadership. According to Greaves, the Minister has unilaterally appointed himself as the gatekeeper of exhibitions. Artists, like Greaves, who wish to display their work, must now seek the approval of a Minister who lacks the requisite qualifications in art or art history. Worse still, Ramson has decreed that no catalogue would be printed for exhibitions and no refreshments would be served—a move that Greaves aptly likens to “a restaurant without a menu.” This kind of interference not only demonstrates the Minister’s ignorance of the role that art and culture play in national identity, but it also raises concerns about how deeply his authoritarianism may extend within Guyana’s cultural institutions.
Historical Precedents of Political Interference
The political hijacking of cultural spaces is not new. Throughout history, we have seen similar attempts by those in power to control the narrative through art, using it as a tool of political propaganda. Under Stalinist Russia, for example, artists were forced to adhere to strict guidelines under the state’s definition of “Socialist Realism.” Only art that glorified the Soviet regime was allowed. Those who resisted were persecuted, exiled, or even killed.
In a similar vein, Ramson’s actions represent an alarming trend of political overreach that could stifle Guyanese artistic expression. His arbitrary decision-making is reminiscent of authoritarian regimes that seek to suppress dissent and silence independent voices. It is no coincidence that his most recent abuses have targeted Afro-Guyanese figures in the arts, such as Thom, the Head of the Burrowes School of Art, whom Greaves refers to in his letter. Greaves rightly calls out Ramson’s conduct as inexcusable and unfit for a Minister of Culture.
The letter from Greaves details a disturbing incident involving Thom, who was subjected to what can only be described as an orchestrated attack. According to Greaves, Thom was verbally abused after his car was blocked in the driveway of the Burrowes School of Art by a man and woman, with the woman immediately phoning Minister Ramson during the altercation. Instead of de-escalating the situation or allowing law enforcement to handle the matter, Ramson demanded Thom report to him personally, further abusing his position of power.
This intervention, Greaves suggests, was not coincidental but part of a calculated setup. Thom’s resignation, shortly after the incident, raises critical questions about how deeply Ramson’s political machinations may be reaching into Guyana’s cultural and educational spheres.
Beyond his interference in the day-to-day operations of Castellani House, Ramson has also failed to address the most pressing issue at hand: the protection of Guyana’s National Collection. Greaves points out that the National Collection is housed in an old wooden building prone to fire hazards. Despite repeated warnings and suggestions for improvement—ranging from fireproofing the facility to securing a safer, permanent structure—Ramson has done nothing.
For a Minister tasked with safeguarding Guyana’s cultural heritage, his negligence is staggering. Neighboring Jamaica, as Greaves notes, has long since replaced its wooden galleries with more secure concrete structures. Guyana, however, remains at risk of losing irreplaceable works of art, including pieces from Indigenous artists whose works are unique to the region.
Ramson’s focus on consolidating power within the Ministry of Culture, rather than preserving the country’s artistic treasures, reveals his true priorities. His disregard for the safety of the National Collection is not just irresponsible—it is unforgivable.
The Disgrace of a Minister Without Accountability
Perhaps the most shocking aspect of Ramson’s behavior is his complete lack of accountability. Following an intervention by Vice President Bharrat Jagdeo to smooth over Ramson’s abusive behavior toward Thom, the Minister has shown neither remorse nor respect for the role he is meant to play. He remains unapologetic, and Greaves, like many others, demands his resignation to save the government further embarrassment.
Ramson’s actions and failures have tarnished the Ministry of Culture, Youth, and Sport. He has turned Castellani House into a battleground for political power rather than a haven for artistic expression. His autocratic interference in the arts mirrors the behavior of dictators who seek to control every aspect of national culture, suppressing anything that does not align with their political agenda.
Greaves’ decision to forgo his 90th birthday exhibition is a laudable act of personal protest and should be a rallying cry for all who value the arts and freedom of expression in Guyana. It is a call for the reinstatement of professional curation at Castellani House, for the protection of the National Collection, and for an end to the Minister’s dictatorial rule over Guyana’s cultural institutions.
Minister Ramson has proven himself incapable of holding the responsibilities of his office. His flagrant abuse of power, coupled with his ignorance of the arts, makes him unfit to serve as Minister of Culture. He must resign, and a new Minister—one who values and understands the importance of cultural independence—must be appointed. The future of Guyana’s artistic and cultural heritage depends on it.