On “NAGB’s Blank Canvas,” your guest host Katrina Cartwright, NAGB Education and Outreach Manager, is joined in the studio by Ulrich Voges, Curator at the Central Bank of The Bahamas and Ruthjeana Johnson, a young, upcoming artist who was one of the winners of Central Bank’s Open Category prize in 2020.
On “NAGB’s Blank Canvas,” your guest host Katrina Cartwright, NAGB Education and Outreach Manager is joined in the studio by colleague Education Officer Blake Fox who speaks to the launch of the museum’s new “Get Set For Fall” programme, the current Mixed Media Art Summer Camp exhibition and his participation in the upcoming MAC Conference 2021.
Tonight’s “Blank Canvas” is all about the Central Bank of The Bahamas’ commitment time the arts.
By Letitia Pratt. It is a hopeful mission of the African diasporas to heal the ancestral pain that Black peoples have inherited. This healing will only come to us in the process of remembering. One of the primary ways to initiate this process is through the creation and consumption of art, which invites us to remember the past, take stock of the present, and come to terms with the complex histories that influence our current experiences as Black people. This process is especially needed for Black Bahamians, whose past traumas shape how we view ourselves. It is incumbent on our ability to tell truths about our past: we must recall times of slave rebellions, punishments, uprisings and revolts. We must remember the slaves that escaped the tyranny of Lord Rolle of Exuma – only to be recaptured and severely punished – and remember the tragedy of Poor Kate of Crooked Island who died from torture in the stocks for seventeen days. (The Morning Chronicle, 1929). It is these stories we need to remember. These are the stories that shaped our ancestors. These are the traumas we need to heal from. Katrina Cartwright’s Nkisi/Nkondi Figure: Prejudice is the Theory, Discrimination is the Practice, (2012) does just that: It forces us to remember, and it inspires us to heal.