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The Art of Living in the Tropics—Part I: An Art of Survival?

By Dr Ian Bethell-Bennett. The University of The Bahamas. The savagery of hurricanes is clear as people struggle to recover and survive. This is the first of a three-part series that journeys through and to the Southern Bahamas, to Ragged Island.  It is an exploration of connectivity, innovation and cultural erasure meeting with opportunity, though not for all.  As a part of the content for The Bahamas pavilion at the Expo 2020 “Connecting Minds Creating the Future”, to be held in Dubai United Arab Emirates beginning on 20th October 2020, a group of researchers sought to collect data and stories of life in the tropics.  The focus will be revealed as the stories unfold.  With the theme of sustainability, the question becomes: can any of us be truly sustainable in a cultural reality that threatens erasure through natural and man-made situations?    

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Troubling Narratives: This is How We Suffer to Remain

“We Suffer to Remain” is a collaborative exhibition whose seed was sprouted in November 2015, when I was invited to be a part of a curatorial cohort that visited Glasgow and Edinburgh, Scotland, as a part of the British Council expanding and investing in the emerging and burgeoning visual art ecology in the Caribbean. This meeting set an idea in motion about how institutions in the Caribbean can start thinking in new ways about partnerships and collaborations that, 20 years ago, might not have been possible. The Caribbean as a creative space continues to flourish in its liminality, continues to grow and inspire globally as a cornerstone of excellence but, unfortunately, also continues to be a perpetual site of extraction, exhaustion and removal. Perhaps one needs to be alone with these words to understand the gravitas and the generational weight of our inheritance.

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Sorry for What? I Am Not the Sugar in Your Cup of Tea

Dr Ian Bethell Bennett

Sorry, Not Sorry a short experimental film by Alberta Whittle juxtaposes tourism and post-enslavement-dispossession in the British Caribbean.  An intriguing mise-en-scène combined with sharp overlaying and interweaving text, image, audio and nuance that brings all sorts of feelings to the fore, from contradictions to harmonies.  The harmony in the background, though clashes with the discordant foreground that allows the moving image the salience it has to document, to articulate, to illustrate the unbecoming side of colonialism and independence. Again, the irony of postcolonial independence is that there is no real sovereignty as governments are only held in power by foreign direct investors who own the economy, by owning resorts where the Bacardi-sipping-frolicking-lithe bodies stay during their fantasy time in paradise.

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