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This chapter discusses how the Guyanese diaspora grew in the 1970s as a result of the political developments in Guyana and a number of other “push” and “pull” forces. There was a shift in the geography of the diaspora during this period. As UK immigration laws became more restrictive, immigration laws in Canada and the United States became more liberal, and Guyanese began moving in substantial numbers to those nations. By the end of the 1970s, New York and Toronto had joined London as key centers of the Guyanese diaspora. Guyanese in London had access to music from many Guyanese musicians, while a younger generation of musicians had already placed a powerful stamp on British pop music.

This chapter explains that the dominant themes within Guyanese society during the early 1990s were economic recovery, divestment, privatization, “national dialogue,” and free and fair elections. There were many contributors to this discourse: international actors, including diaspora groups such as the Association of Concerned Guyanese; and domestic participants, including the Patriotic Coalition for Democracy. The elections took place in 1992 and music played a significant role in the campaigning. Generally, the 1990s saw artist development as a key activity, and one of the most successful innovators in this field was Wally Frazer's Vizion Sounds Promotions. The need to recognize Guyanese musicians became even more drastic in the early years of the twenty-first century, when several died in destitution. However, at the end of the century, Guyana had world-class musicians living in the diaspora.

This chapter demonstrates how the period between 1931 and 1940 was pervaded with a number of state-funded public entertainments that were organized to celebrate key events in the colony's history, or in British imperial life. The celebrations to mark the Golden and Diamond Jubilees of Queen Victoria established the format for imperial public entertainments in the British Empire, including British Guiana. Special events during this decade included the British Guiana Centenary celebrations (1931), the Centenary of the Abolition of Slavery (1934), Georgetown's Centenary (1937), the Coronation of George VI (1937), and the Centenary of East Indian Immigration to British Guiana (1938). The music associated with these events identified the musical aesthetics of the ruling class, provided a snapshot of what was popular, demonstrated the musical proficiency of Guyanese musicians, and offered an opportunity to appreciate the thrust of contemporary Guyanese creativity.