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Finding Our Voices: Resisting Violence and Oppression

7 August 2019

By Dr Ian Bethell Bennett, The University of The Bahamas. “I could be bounded in a nutshell, and count myself a king of infinite space, were it not that I have bad dreams.” – Hamlet, II.ii. Is it a bad dream, a nightmare provoking somnambulance? We all think the best of green gentrification because we have been taught, in spite of the climate sceptics, we need to do something to improve our resilience.  We are also told by the media that while people know about climate change and the havoc it plays in their neighbourhoods, jobs are more important because many of us are one paycheque away from poverty. 

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Designing for Space: Working with Possible Futures in Mind

30 July 2019

By Dr Ian Bethell Bennett,The University of The Bahamas. Colonialism and coloniality in design occur when little is left of the past to remind us of the physical reality.  On a recent trip to Cape Town, I had the pleasure of enjoying two spectacular spaces of art and design that showed how important it is to think through purpose and landscape and how the beauty of both can be made functional in the spaces created.  I had the pleasure of stumbling into a nursery that doubled as an apparent antiquarian.  The space was large and well-designed with room to breathe. Form and purpose combined with the art of design to speak to concepts of natural beauty, much like the wave design at the London Aquatic Centre at Stratford designed by Zaha Hadid especially for the 2012 Olympic games and constructed by Balfour Beaty; the perfect example of form, design and purpose merging and blurring lines of functionality and beauty.    

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Timelines: Developing Blackness

8 July 2019

Historical photographs show Bahamians claiming and embracing their African heritage. Aptly named, these photographs show us a period in our history where Bahamians were pointedly claiming and embracing their Blackness. This sense of pride was born out of, but not limited to America’s expressions of Black power during the Civil Rights Movement, the road to Majority Rule in 1967, and The Bahamas’ independence in 1973.

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There are several ways of finding yourself: Reporting from Tilting Axis 5

25 June 2019

By Letitia Pratt, The D’Aguilar Art Foundation. On a late Monday at the end of May, I sluggishly – by fault of a sleepless travel day –  made my way through the airport arrivals in Pointe-a-Pitre, Guadeloupe, unaware of the new ways in which experiencing Tilting Axis 5 (TA5) would change my perspective on many things – on art, the institution, and on my own practice; and how, despite all the harrowing setbacks that I have endured, that it is important to do work in and about the Caribbean.   

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Unplugged Sessions at Fiona’s Theatre

24 June 2019

By Kevanté Cash, NAGB Correspondent. Rashad Leamount and Chase Fernander curate the first of many soul sessions to be held at the National Art Gallery of The Bahamas. Bodies sway, hands raised and heads bop from left to right; feet resist the urge to get up and shake, while mouths formulate to ad lib the words to songs hearts may know. There is magic in the air at Fiona’s Theatre, where an eclectic group of musical artists are performing. They are setting the mood for what to make of the rest of the year with events held here, as this appears to be the start of something new. “Unplugged” a part of A Season at Fiona’s, curated by Rashad Leamount and Chase Fernander, marries the two art worlds, inviting one into its backyard.

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Check Yourself: Thinking About Stereotypes and Chan Pratt’s Sincerity in Painting Over-the-Hill

19 June 2019

By Natalie Willis. A man walks along a row of houses with a crowbar in one hand, a piece of wood in the other, he is speaking to someone: a friend, an acquaintance, a family member, a neighbour perhaps? The houses are neat, patched up with care – no doubt due to the stresses of time and hurricanes alike, there’s only so much this old clapboard can take. The street is neat, orderly, a pubescent boy leans against a tree in the shade, and things feel calm, serene in the row of homes. This is not what people think of when they think of the current state of Over-the-Hill (OTH). Bain and Grants Town are woefully underserved communities, that much is certain, but they are also demonised for circumstances largely beyond their control in a cold, classist manner of stereotyping.

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“Wellington Street Dwelling”: Exploring the Bahamian Vernacular

17 June 2019

By Kelly Fowler, Guest Writer. An island landscape in the mind of a non-native may include picturesque coastal scenes of blue and turquoise shaded waters gradually transitioning to crystalline, onto shallow shores of powder white sandy beach, and further to lush foliage of coconut and palm trees. To the native Bahamian, the island landscape may vary considerably. The landscape may range anywhere from the quintessential narrow, yet neat streets featuring well-kept,  board houses nestled among vibrant Bougainvillea, Poinciana and golden shower trees, to scenes of markets, daily life and the historic Over-the-Hill community where centuries-old silk cotton grow, fruit trees flourish and royal Bahamian potcakes roam freely. Both the outsider’s notion and the insider’s experience are represented in Bahamian art. Melissa Maura’s 1983 oil on canvas painting entitled Wellington Street Dwelling is a glimpse into an insider’s experience of island life and landscape. The painting draws the viewer into the lived experience of the native Bahamian and invites the onlooker to reflect on the diversity of the island landscape and how the landscape has changed over time.

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