Introduction Several years before Jim Jones established his community, I was living in an Amerindian village in northwestern Guyana, about 75 miles from the future site of Jonestown. It was an Amerindian village, but a very 'modern' one -- everyone spoke Creole English, wore Western clothing, and embraced Western values generally. The family I knew best was especially progressive by local standards -- of five mature children, three were training to be professionals: teacher, surveyor, engineer. The family was also musical, and two of the boys, responding to their changing environment, had acquired Japanese-made electric guitars and amplifiers. One brother taught at a nearby school and was soon to continue the training that would make him a highly qualified Government surveyor. Music and technology, two domains of a modernity he was anxious to make his own, provided the basis of many conversations between us. The conversation I remember best was about the film Woodstock. My friend had returned to the village after a visit to the capital, Georgetown, where Woodstock was playing to large and enthusiastic audiences. At the beginning of the 1970s, Guyanese youth were caught up in the complex forces of an imported counterculture and a
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Jonestown: A study in ethnographic discourse
DRUMMOND, LEE
Follow Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique
, Volume 46 (2-4)
de Gruyter – Jan 1, 1983
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