LAUNCH EDITION: BAAM-The Bahamas Ambassador Magazine by TeeJay Culture Shock

BAAM - The Launch Edition

features

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The Ministry of Youth Sports & Culture Thompson Blvd Nassau P.O. Box N-3913 Telephone - (242) 502-0600 - 0605 The Hon. Dr. Daniel Johnson Minister Calvin Balfour - Permanent Secretary Eugene Poitier - Deputy Permanent Secretary Phedra Rahming - Deputy Permanent Secretary Tim Munnings - Director of Sports Daron Turnquest - Director of Youth Dr. Linda Moxey-Brown - Director of Culture Cleophas Adderley, Jr. - Director of Music & Heritage

COVER MODEL: Tyler Emani

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THE CARIBBEAN MUZIK FESTIVAL RETURNS TO THE BAHAMAS CULTURAL SCENE

LEADING THE WAY: PRIME MINISTER CHRISTIE

24 $100 MILLION TO REACH BAHAMIAN COMMUNITIES DURING CARNIVAL STYLED NATIONAL FESTIVAL

FREDDIE MUNNINGS, JR, WANTS THE FESTIVAL TO RE-ENERGIZE BAHAMIAN CREATIVITY

700 ISLANDS OF CULTURE: THE NATIONAL ARTS FESTIVAL OF THE BAHAMAS

MEET THE REIGNING MISS CULTURE

OUR INTERNATIONAL STARS

LENS OF THE BAHAMAS

60 MAJOR INTERNATIONAL MEGA EVENT PLANNERS ARE ONBOARD TO ENSURE SUCCESS OF BAHAMAS JUNKANOO CARNIVAL

SUGGESTED READING: THE BAHAMAS

MAJOR BUSINESS - THE CHAIRMAN OF THE BOARD

BAHAMAS SIGNS ON TO THREE UNESCO CONVENTIONS

BAHAMAS JUNKANOO CARNIVAL PROMISES TO BE PEACEFUL AND ORDERLY

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IN THE DIRECTOR’S CHAIR

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Bahamas Information Services (BIS) is proud to be the lead facilitator under the auspices of the Ministry of Youth Sports and Culture and the private partners in producing Bahamas Ambassador (BAAM), official magazine of the Ministry and Bahamas Junkanoo Carnival

Festival 2015. BAAM will on a quarterly basis set the bar for the spirit of excellence required for the success of Bahamas Junkanoo Carnival Festival 2015, invite the world to celebrate with us and showcase the distinct multi-cultural heritage of our nation and people. BAAM represents the fourth in a series of innovative and provocative publications BIS has produced for the year. We consider it a basic fundamental that the Bahamian people be fully informed and the stories of our people fully chronicled and the clear intent and purpose of the Government’s agenda be presented in this classic form. Please enjoy the premiere edition and your thoughts, contributions and ideas are welcome. Luther E. Smith Director General BIS

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FROM WHENCE JUNKANOO CAME

BAHAMIAN CUISINE FLAVOURS THE SEA

HOW PERRY CHRISTIE’S STAND SAVED CLIFTON

‘SPERRIT, GHOSTS AND HAUNTED HOUSE’ ONLY THEN BAHAMIANS SCARE

ACTION: KING OF THE LIMBO

RASTAFARIANISM AND ITS JAMAICAN INFLUENCE ON THE BAHAMAS

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JEANNE THOMPSON: NO TIME FOR SUGARCOATING THE BAHAMIAN REALITY

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A BROWN GIRL IN THE RING

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41 CULTURE WARRIORS

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SALUTING, RECOGNIZING AND COMMENDING THE BAHAMIAN CULTURAL ARTISTS FOR THEIR STELLAR ACHIEVEMENTS

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SHAKE UP THE CULTURE FOR OUR NEW JOURNEY TO AN UNCENSORED CULTURAL FUTURE

100 BAHAMIANS

ALL AROUND THE WORLD

FRONT COVER: Tyler Emani. Developed for The Ministry of Youth Sports and Culture by Earlin Williams -Consultant, Special Projects Unit of Bahamas Information Services in conjunction with A Culture Shock Media and Projects Masters, Research -Cordero Williams & Sharell Carroll. Special Thanks- Rohan Rolle COPYRIGHT © 2014 BAAM: BAHAMAS AMBASSADOR, ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT THE PERMISSION OF A CULTURE SHOCK/ PROJECT MASTERS, IS HEREBY PROHIBITED. BAAM: BAHAMAS AMBASSADOR, P.O. BOX N10042 , NASSAU, N.P. THE BAHAMAS | www.bahamasambassador.com

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SPANISH FLAIR IN OLD TOWN NASSAU

Review Us On

Address: Navy Lion Road (Corner Hilton Hotel, Bay Street, just before Senor Frogs) Tel. (242) 698 20 08 email: dalinassau@gmail.com website: www.dalinassau.com

GOVERNOR GENERALâ&#x20AC;&#x2122;S NOTE I wish to congratulate the Government of the Bahamas, and in particular, the leadership of the Ministry of Youth, Sports and Culture, for the commendable effort it has made in producing and publishing this magazine known as BAAM (Bahamas Ambassador). Its publication is yet a further step in the promotion of our rich cultural heritage in The Bahamas. I think it is significant that considerable attention throughout 2014 has been given to aspects of the culture of the Bahamas. The theme of the 41st Anniversary of Independence focused, appropriately, on forty one Bahamian cultural icons and now, we are gearing up to celebrate in 2015 the inaugural Bahamas Junkanoo Carnival. This will be an international event that will showcase the talents and the spirit of The Bahamas across the world. Most people would agree that as a small nation we have the distinction of having a vibrant culture that is deeply embedded and that springs from the uniqueness of our history. We have produced musicians, painters, sculptors, dancers, singers, actors and authors and the list goes on. As a part of our cultural heritage we have to preserve the legacy of so many of these cultural icons, some of whom are well known while others need to be brought to the notice of our citizens before the memories of these figures fade and they are forgotten. The launch of this magazine is one of the initial steps that the Ministry of Youth Sports and Culture is embarking upon to expose and acquaint Bahamians and others to some of the exciting things which are happening on the cultural front and its efforts in this regard are very commendable. I wish to congratulate everyone associated with this venture and I am certain that it will be a most enjoyable and informative publication. Congratulations and Best Wishes!

Her Excellency Dame Marguerite Pindling Governor-General of The Bahamas

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MESSAGE FROM THE RT. HON. PERRY G. CHRISTIE, MP, PRIME MINISTER OF THE COMMONWEALTH OF THE BAHAMAS I am delighted to lend my support to the publication of this Cultural Magazine which is being published under the auspices of the Ministry of Youth, Sports and Culture and I wish to congratulate the Hon. Minister and all who worked so assiduously to make this publication a reality. It is a first for the Ministry, but I hope not the last. For the first time, we as a Government have decided to capture the richness and uniqueness of Bahamian culture and seek to make it an â&#x20AC;&#x153;add-onâ&#x20AC;? to our tourism project, thus bringing mainstream economic benefits to hundreds of Bahamians. The launch of this magazine is but one of the tools that we will use to focus attention on The Bahamas Junkanoo Festival planned for 2015. This Festival will be an opportunity to put on full display for the world to see, the wide array of culture that exists in The Bahamas and what Bahamians are capable of on the cultural front. It will have a two-way effect. It is hoped that it will draw thousands of visitors to our shores but at the same time, it will be an opportunity for local musicians, artists of every stripe, and the local entrepreneurs and communities to benefit from this explosion of cultural activities. Admittedly, over the years The Bahamas has not paid as much attention as it should to the exploitation of our fabled cultural history. We have been content, largely, to see it as the preserve of the native Bahamian and those few visitors who might have a special interest in this area of our national life. But examples abound the world over where cultural icons and the festivals that have built up around them become the centrepiece of marketing for these countries and upon which rests a multi-million dollar enterprise. Countless examples can be found the world over, including within the Caribbean region. We must not allow this opportunity to pass and in order for us to succeed with what we hope will be a magnificent Festival we need the world to know of and want to be a part of this great event. This magazine is but a start in that it sets out in beautiful photographs and in lively and entertaining stories some of what make us truly unique as Bahamians. It gives us a glimpse of where we have come from in terms of the cultural landscape. It features stories about some of our very entertaining personalities such as the King of the Limbo. It points to the measures we are undertaking to preserve our pristine environment and the efforts that have already gone into the preservation of areas such as Clifton. Believe me when I say that Clifton is but one such sites of untold beauty. There are numerous sites in location all across The Bahamas. It is there for all to see and enjoy. I commend this magazine to the reader and when you have done, pass it on so that others, too, can enjoy a bit of what we have to offer.

The Rt. Hon. Perry Gladstone Christie Prime Minister/Minister of Finance

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My Fellow Bahamians, International Friends, Visitors and Friends of The Bahamas: “The Year of Culture” -2014 has ignited cultural transformation in our beloved Bahamas. It is as if the proverbial sleeping giant has been awoken as all across our country there is a new enthusiasm about our rich cultural heritage. This is of course a necessary precursor to the main event, The Bahamas Junkanoo Carnival Festival, which will take place in The Bahamas in May 2015. At no other time in our history have our people been so eager and enthusiastic to celebrate, participate and congratulate those Bahamian Cultural Warriors, Cultural Heroes and trendsetters, who have defined us as a people and performed a yeoman’s task in identifying The Bahamas’s brand to the world. The inaugural Bahamas Junkanoo Festival will be not only culturally stunning but it is also being designed to provide an economic lift to those who participate and to the man on the street. It will have a reciprocal effect of enchanting our visitors while at the same time providing an opportunity for Bahamian entrepreneurs to earn substantial income from our creative outputs. At no other time in our country have our young people been so wonderfully poised, ready and prepared to show the world our stuff. The best is still yet to come, and I have every confidence that the high energy level of our creative and cultural artists will take the world by storm. My Ministry has from day one spearheaded a number of innovations, inspirations and initiatives geared purposefully at preparing the nation to welcome the world to our shores for the Bahamas Junkanoo Carnival Festival in early May 2015. To this end, we wanted every sphere of our country’s cultural expression to be re-amplified as the first step in cementing the excellence and merit. We wish to invite the world to attend and to participate in our Cultural performance and displays as we usher in our wonderful summer experience in our capital city of Nassau and in every corner of our 700 islands, rocks and cays. We intend to harness all of this for the peaceful participation and enjoyment of all. As we play host to the world, our people shall be ever mindful of our distinguished international reputation for graciousness and hospitality. This treasured aspect of our cultural bearing will be one of the guaranteed hallmarks of the visitors’ experience. We will spare nothing in rallying the world to appreciate Bahamian Cuisine, Conch, Rake N’ Scrape, Party In Da Backyard, Rush Out, Heritage, Goombay-as a few of the delectable portions of the twelve course Bahamian cultural feast which will spread across our archipelago in 2015. This brings me to my Ministry’s decision to publish BAAM, The Bahamas Ambassador Magazine as a compendium of information and highlights and history for your enjoyment and edification. In BAAM we bring you a detailed and researched presentation on our Culture and its movers and shakers. We have every confidence that BAAM will serve as another catalyst for our developing artists to strive for international excellence and success at the highest levels and bring the world the story of our Culture and how Bahamians have impacted the world stage.

Hon. Daniel Johnson

Minister of Youth, Sports & Culture

While Bahamas Junkanoo Carnival Festival 2015 is our opportunity to show ourselves off to the world, it is just as importantly the time line for Bahamians to reach for an arrive at the top of their cultural endeavors. Enjoy this Premiere Edition of BAAM in the spirit and high hope of continued greatness from our people, We have certainly enjoyed bringing it to you.

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Greetings, Our Ministry will be at ready to promote, revolutionize and formulate a renaissance in Bahamian Culture as we have traditionally known it. The Ministry of Youth Sports and Culture is excited about the agenda we have set for 2014, “The Year of Culture”. We fully understand that our responsibility is to prepare a cadre of Bahamians from all spheres and disciplines for participation in the now much anticipated Bahamas Junkanoo Carnival Festival set for April to May 2015. Much planning and organization has to go into this event and the Commission appointed by the Rt. Honourable Prime Minister Perry Christie is going about its mandate with a fervor and deliberate sense of service with a focus on the high standards and marks in excellence we wish this Festival to portray. The Culture division of this Ministry and the fine men and women; who staff it are to be commended for the long hours and personal attention to detail and duty they put into their work. They know that much of what has happened as a forerunner to prepare our people for this Festival; will depend on their initiative and drive. I want to charge the Cultural Division to maintain their rigorous peace and to go beyond the call of duty to achieve their vision as set out by the Prime Minister for the Festival. This will be an eventful and purposeful year for us in this Ministry as we set about the task of laying the ground work in the administration and management and regulations of the Festival, and more importantly, to find ways to get seed monies to the struggling and deserving artists to prepare. The road we are on to May 2015 will require the full support of every Bahamian, both as spectator and as participant. The Festival is about The Bahamian People showing the world who we are. We anticipate this Festival to be a full explosion of All Things Bahamian and for the world to rise up and join us in the chorus that it’s truly “Better in The Bahamas”. To do this we need all hands on deck. In this Ministry, we shall be guided by our Policy Maker, The Hon. Daniel Johnson, in ensuring we put in place a regime that will bring about the economic impact and stimulus to small and medium businesses, including the many artists who have laboured so many years their various craft and disciplines. The Ministry is here to serve the Bahamian people and we invite all of our people to make full use of our services and products, particularly in this “The Year of Culture”.

Calvin Balfour

Ministry of Youth Sports & Culture Permanent Secretary

Did y ou kno w? John & Becky Chipman

John and Becky Chipman (d) from Lifebuoy Street became the double dare Bahamian Husband and Wife couple of entertainment in the Bahamas. For more than forty years, as they raised their children successfully, “The Chipmans” were top entertainment fete at any hotel and major night club that wanted to pack in the tourists. John scored on the goat skin and goombay drums and Becky reveled her audience with her exotic fire dance. They were often joined on stage by Lil Rita, the four foot three inch dancing machine from Peter Street. The Chipman’s brought their talents to Bay Street annually for the Junkanoo parade. John is credited with the invention of several music instrument innovations. Here they allowed their Bahamian fans to celebrate their talent, which they showcased around the world. Music Masters Celebrates the icons of Bahamian music & culture-

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Back Then . . .

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Music Masters Celebrates the icons of Bahamian music & culture-

Sometimes you have to step back and listen to the sounds of life. Sometimes life plays the music and tells us the words of the song we are living in.

GregLampkin Greg Lampkin is a multi- talented individual whose craft has touched every sector of culture in our country. He has appeared on stage in the lead role in top Bahamian drama and around the world. He has written, produced and lent his voice to numerous radio and television commercials where his popular phrases have found their way into the Bahamian popular culture. His award winning performances in “ I, Nehemiah Remember When” and “Sammie Swain” are amongst his greatest performances.

I AM A BAHAMIAN

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The Caribbean Muzik Festival returns to The Bahamas Cultural Scene

Attorney and Former Minister of Education and Chairman of the Board of the College of the Bahamas Alfred Sears was the Bahamian partner for the Caribbean Muzik Festival which was an annual event held in Nassau in the early 1990s. He looks back at how it impacted the Culture and how segments can still be revisited.

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There are pictures which capture some

"Exuma" McKay Living Legend Awards

the Caribbean and a global centre of

of the scenes relating to the festivals in

before their deaths. One year, we also

cultural and heritage tourism. The

The Bahamas as well as the endorse-

presented the Living Legend Award to

cultural events and all special events

ment of Sir Lynden Pindling. We

Francisco "Sparrow" Slinger, who will

should be of the highest quality to

successfully negotiated an arrange-

this year receive the highest civilian

showcase the creative imagination

ment with Pay-Per-View Television for

award from the Republic of Trinidad &

and intellect of the Bahamian and

the broadcast of the Caribbean Music

Tobago. CMF was also a gold contrib-

other Caribbean artists and a regular

Festival to a global market in 1997 and

utor to The Bahamas Games in 1997.

and permanent part of the regional

1998.

cultural tourism calendar. The creative We believe that CMF can be one of

industries can be developed to be the

We have been invited by The Ba-

the vehicles to transform The Baha-

third sector of the Bahamian economy,

hamas Ministry of Tourism to revive

mas into the leader of cultural tourism

eventually contributing annually about

the Festival in the Summer 2014. As

showcasing the best in the music

15% of GDP, diversifying the Bahamian

the premiere regional music festival,

and dance of the Caribbean. It will

economy and generating a perma-

endorsed by the Caribbean Tourism

generate opportunities for Bahamian

nent stream of revenue for Bahamian

Organization, the Jamaican Ministry of

and other Caribbean recording artists

artists and artisans. To achieve these

Tourism had invited CMF to present the

to meet in The Bahamas and, in the

objectives, there must be a transparent

Festival in Jamaica in 2014. However,

spirit of regional integration, develop

and trusted partnership between the

it was decided by the Directors of CMF

collaborations to influence and shape

private sector and the Government in

to keep CMF in The Bahamas.

the global music marketplace reviving

the promotion of the creative industries

the tradition of the Caribbean as the

and in sharing the risks and profits of

trendsetter in contemporary music.

this emerging creative sector of the

We presented our Living Legend Award at each Festival to an outstanding

Bahamian and regional economies.

Caribbean musician. We presented

CMF believes that The Bahamas

Freddie Munnings, Arrow and Tony

can become the cultural gatewary to

-Alfred Sears

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L E A D I N G T H E WAY THE PRIME MINISTER OF THE BAHAMAS Rt. Hon. Perry G. Christie

By Betty Vedrine

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LOOK OUT WORLD! DEY COMING! Bahamas Junkanoo Carnival

Prime Minister Perry Christie has rebranded Bahamas Carnival as Bahamas Junkanoo Carnival. The Prime Minister revealed the new name on the occasion of the official Launch of the Carnival in Pompey Square on August 27, 2014, The Bahamas Junkanoo Carnival will kick off post lent 2015. The inclusion of â&#x20AC;&#x153;Junkanooâ&#x20AC;? in the title was a response to the requests of many Bahamians.

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Prime Minister Christie maintained that Bahamian culture, Junkanoo in particular, would be a centerpiece of the festivities. Junkanoo is regarded as one of the most prominent expressions of Bahamian culture. It is a traditional Bahamian street festival known for its vibrant colors, elaborate costumes and infectious music. Birthed centuries ago by the African experience in The Bahamas, the celebration today showcases community-based groups who parade before massive crowds to the sounds of goatskin drums, cowbells and other musical instruments, celebrating a tradition of freedom. “I am very pleased that we will soon be able to showcase even more of our country’s culture via this new iconic event,” the Prime Minister said. “Not only is this a great opportunity for Junkanoo, artisans and other craftsmen to display their wares and talents but it also offers us the opportunity to provide additional entertainment for guests who visit our shores.” Minister of Tourism, Obadiah Wilchcombe further said, “Junkanoo is that festival that we intend to take to the world, to share with the world, to put on every main street of the world and to ensure that the world is invited to come and explore the wonders of The Bahamas.’’ Bahamas Junkanoo Carnival will feature four main events over its weekend presentation: Music Masters, Junka Mania, Midnight Rush and Road Fever. This high level entertainment experience will set the stage for Bahamian recording artists

Prime Minister shifts country into high preparatory gear for Bahamas Junkanoo Carnival 2015 to nurture their sound in front of a global audience, on the same stage as a Grammy Award winning artist.

carnival events will showcase Junkanoo, Rake -n- Scrape, arts and crafts, Bahamian cuisine, visual art, music, dance and much more.

Bahamas Junkanoo Carnival also includes an immersive parade that will end against the backdrop of iconic Nassau Harbor. Additionally, Bahamas Junkanoo Carnival will display a collage of Bahamian culture. It is a festive celebration where Bahamians and guests from around the world will be immersed in all things Bahamian. The

Chairman, Paul Major felt that this is a good opportunity for us to capitalize on the Bahamas and carnival brands while simultaneously building the Junkanoo brand. During an official ceremony launching the event at Pompey Square on Wednesday, August 27 were several forms of entertainment

“

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I am very pleased that we will soon be able to showcase even more of our country’s culture via this new event,” said the Prime Minister. “Not only is this a great opportunity for Junkanoos, artisans and other craftsmen to display their wares and talents but it also offers us the opportunity to provide additional entertainment for guests who visit our shores. -Rt. Hon. Perry G. Christie including dance performances by the Junkanoo group, Colours, headed by Mr. Chris Justilien; a tribute to the ‘Obeah Man,’ fire dancing, musical selection by Visage and promotions by the Ministry of Tourism. The Bahamas Junkanoo Carnival is a new event on the Bahamian social calendar. It will be annual -- spanning five weeks and will kick off on Easter Monday. The period will feature a series of activities including concerts, cultural shows, balls and street parades, which will depict all aspects of Bahamian culture and heritage. During the period, one week will be set aside and will be known as Carnival Week. The first Bahamas Carnival Week is scheduled for May 3-9, 2015. During Carnival week, four major events will be staged. A Commission chaired by former banker, Paul Major, will oversee the Bahamas Junkanoo Carnival.

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$100

MILLION

to reach Bahamian Communities during Bahamas Junkanoo Carnival Dr. Daniel Johnson, Minister for Culture readies the nation for 2015

he Bahamas will roll out the red carpet in 2015 for its Junkanoo Carnival (Festival), inviting the world to â&#x20AC;&#x153;come see we tingsâ&#x20AC;?. Bahamians will compete for thousands of dollars in prize money. In five years the festival will add over $100 million within the Bahamian communities, and mark the Bahamas as the signature show place in the region for the highest standard and display of such events and present to the world the most ambitious and talented cadre of Bahamian artists.

t the helm of this operation is Dr. Daniel Johnson, Minister of Culture who brings a unique and refreshing Afrocentric discipline to the intellectual ideology of the planned Bahamas Junkanoo Carnival.

“The Festival will highlight, exchange, develop and showcase the stuff Bahamians do so well in the culture. Rake and Scrape. Goombay. A Bahamian Jazz Festival, Choral Singing. A Gospel and Heritage Extravaganza. These are key components of the Festival we should be developing at all times. The biggest Goombay Festival right now takes places off shore in Key West Florida. Developed by the Bahamian community there. We shall duplicate that in this Carnival Fiesta. Surely if Key West with just fifteen thousand (15,000) visitors can put on a Goombay Festival in their neck of the woods, we in The Bahamas can take the rafters off the ceiling.”

-Dr. Danny Johnson

On the mantle in his office, the Minister keeps a bust of Dr. Robert Love, the Bahamian who is credited with putting the focus and drive into the thought processes of Jamaican National Hero Marcus Mossiah Garvey after the World War 1. Garvey had moved to New York and begun to passionately organize Black people into a movement to appreciate their heritage in Africa and to embrace their culture with dignity and pride despite the harsh vagaries of America post-Civil War. “Garvey’s call was to Caribbean Black people who had migrated to the United States to rise above the Plantation society order and become leaders in every discipline. He was of course misunderstood by many and it took latter years for Garvey’s vision and inspiration to be fully understood,” says Dr. Johnson. “just about every advancement for people of colour can be associated with the timeless message that Garvey preached. Dr. Robert Love, his Bahamian counterpart was also very instrumental in passing that message onto critical Bahamian

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leaders of the day. Dr. Cornelius Walker. L. W. Young, Charles Rhodriquez began the teaching exercise. One of the positions Garvey had was this notion Bahamians were always the last people in the region to sign on or to grasp a new direction. But Garvey was adamant that when the Bahamians got it, they quickly outshone everyone else, took it to the highest levels and got the world’s attention,” Dr. Johnson said. “This festival is about identity. Who we are and what are we all about as a people and as a nation. Our history is drawn from several disparate arenas. From Columbus’s discovery in 1492 and the extermination of the native Indians, the granting of the Bahamas to the Lords Proprietors , the arrival of the Eleutherian Adventurers, the arrival of the first Royal Governor and the establishment of Parliamentary democracy, Piracy, Slavery and the American Loyalists, Emancipation, the Burma Road Riot, the birth of political parties, Internal Self Government, Majority Rule and finally Constitutional Independence in 1973”, Dr. Johnson says. “Along the way we have been integrated with other cultures which have made their home in the Bahamas. Other nationalities… the Americans, Canadians, South Africans and Europeans’ investment and residency, the Chinese, West Indians on the Police Force,

“

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We don’t have an Art festival. Over in Miami Beach million of dollars in fine art are show cased and the world drops in. Our festival is a new call to our finest artists to prepare for their destiny and their worth. This is where our Junkanoo Carnival differs from what happens in Trinidad Carnival or in Rio. Here in The Bahamas our Junkanoo Carnival will show case the whole Bahamian Cultural Artist. Yes there will be dancing in the street and sweet, sweet music. However our Film Makers will show case their work, new recording artists will debut their new works, models will take to the stage. Fashion designers, Hair stylists will show the world what we in this country are all about. –Dr. Danny Johnson

the Greeks and the Haitian influx through legal and illegal immigration. Out of this must come the definitive expression of who we are in every discipline of art and culture. At the bedrock of this must be the freedom the Bahamian people must be given and allowed in order for the fullest expression of who we are to flow effortlessly and unrestrained or censored in how we show the world what we are all about in our Festi-

“

val,” Dr. Johnson says. “In order to achieve this, every community must become involved in what we are trying to achieve in this festival. We are anticipating a renaissance in the Bahamian experience and expression. Bahamas Junkanoo Carnival will inspire generations still unborn to lift up a new standard in how we show tolerance and respect for other views and the fullest realization of the freedom that must be

given to art,” says Dr. Johnson. The Minister is quick to point out that the Bahamas festival should not be equated exclusively to the street dance frolicking of the Trinidadian Carnival, Mardi Gras in Louisiana or the festival in Rio De Janerio. “We are creating a specific Bahamian platform. While the Junkanoo Carnival will have set dates which may in respect to its finale, I expect

the activities leading up to this finale to be equally exciting and a big money earner for our artists,” says Dr. Johnson. “For example we will have to create the Festival locations in the Family Islands. We will have to create the Festival locations in Freeport and Nassau. I am particularly pleased with using The Pompey Park as a prototype of what we should try to

“I would want to see Festival locations all across Nassau where distinct communities are involved in hosting and presenting,” he says. The other germ which seems to weigh down the perception of the Festival is the concept that any such

“

event in the Bahamas is just another further saturation of Junkanoo. “I sat with the leaders of the Junkanoo groups. We have had extensive discussions. Junkanoo as a Christmas and New Year’s festival will have participation in what we are gearing towards. What the leaders of Junkanoo want more than anything else is for the festival to create a powerful creative force in the Bahamian people to create and participate in new cultural expressions. Junkanoo is primarily a spectator event. Less than ten per cent of the people

So our Festival mark is not a one night stand. The festival mark is a defined schedule of activities culminating in a gala weekend of prizes and surprises. With a business model innately attached to it. That’s where I’m driving this Ministry and the culture of The Bahamas. As an economic driver I’m looking at culture as one the sustainable pillars of national development. Just like Education, Healthcare and Infrastructure, Culture would be one of the pillars of our society; which it should be, otherwise you’re not devoting enough time to who you are, what you are doing it for and who you are doing it for. – Dr. Danny Johnson

We are now going to use the brand; this brand called The Bahamas, where we said years ago that “Its better in the Bahamas”, to bring out the best that we have for the world to see. So it’s like when you have a guest come to your home and your mother would break out the fine china. That is what we are going to do. Like when we’d go to church and put on what we called our Sunday’s best. We have to make sure that we present the best of what we have because we would be dealing with the brand of “ It’s Better in The Bahamas”. We’re saying to ourselves that we have a culture that we want people to see, but a culture of what? The answer is that it’s a culture of excellence, a culture that is attached to this methodology though, that we are the stone that the builder rejected and we have emerged victorious and we’d like for you ‘ Run Come See.’ So this displays a transformation of the slave into this wonderful swan, from this ugly black duckling into this magnificent eagle. - Dr. Danny Johnson

“

achieve in creating the venues all over this country for the Festival. Open air, wide spaces for performing, bathroom facilities, a centralized complex which can house administration and certain tools and equipment.

“

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“

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$100 Million to reach Bahamian Communities during Bahamas Junkanoo Carnival - cont’d are active participating members of Junkanoo organizations that come to Bay Street and the audience or spectators number in the tens of thousands. This Festival wants to change that. We want to see more of those people who come to fill the bleachers now participating in their individual or collective cultural expressions,” says Dr. Johnson.

It is evident that the Minister is adamant that the Festival will abhor mediocrity and once acts are pre-qualified for presentation that financial and technical support is at the ready.

The call and mandate will be for excellence. It is envisioned that certain acts will audition for national presentation at the Festival and then go on to compete for the cash and incentive prizes.

“We are showing off the Bahamian People and our nation. This is the country which has already given the world acclaimed international performers. Sir Sidney Poitier. Calvin Lochart. Paul Meers. The Beginning of the End. BahaMen. King Erricson. Theophilus Coakley and the T Connections. Cedric Scott. Joseph Spence. Gladstone Adderley. The National Youth Choir. Dr OFFF! at the Kool Jazz festival. Johnnie Kemp. Junkanoo. Amos Ferguson. This mission we are on is to further unravel our mythology,” says Dr. Johnson.

“The Festival can stimulate a new economy for our artists and our communities. Artists will have need access to certain seed capital to prepare but they will have to prove that they deserve the funding and can deliver to the overall presentation and package of what the Festival is seeking to do,” says Dr. Johnson.

“It requires us to be unrepentant of who we are. We have to be transcendent in our cultural expression and disallow the fraudulent ambiguities that have often caused us to shield or mask who we are just to appease a particular order. What we are hoping is that our people in the fullest expression of this freedom will use the energy of the Festival and

To achieve this the Minister is embarking on an ambitious programme with the newly-created National Cultural Commission chaired by banker Paul Major and comprised of distinguished persons in civil society, the arts and business which will act as the regulatory agency for the Festival.

“

That’s the problem with the Plantation model the British left us. The plantation model says that you’re stuck with value and you do that for them. It says if the food is good, we sell it over there. We get chicken foot, pig foot and ox tail and make good with it. The plantation model says that the coast is too scary for us; and that we must live inland. It says that the land in Nassau the bank will take as collateral, but the lands in the Family Island no bank will take that as collateral. That’s what the plantation model does for the challenges. The real challenge is seeing what you have. The mastery of that evil is eyeing and telling people: “What you have isn’t good, what we have is better. Straight hair is better than curly hair, white skin is better than black skin.” Now be careful now, because when you check homeboy and look closer, he’s curling his hair and sitting in the sun. Now they’re spraying on color. They say big lip was worse than thin lip, but now they’re injecting their lip with silicon. They said no hips were better than big hips, now they have an implant. So the plantation model is fraudulent to one’s culture. It tries to make you commit a fraud against your culture. The worst part about the fraud is that it will take what is told you wasn’t valuable because that’s really what the Plantation Owner wants. Your land, your women, your men, your music, your art, your food, your drink. But first you have to be convinced that you that you don’t need it. That it’s not good for you. That’s what this model does. Our Cultural Festival will break down those barriers. Bahamians will see and feel and comprehend that while we may be proud to share what we have with our visitors, Bahamians have to also enjoy and participate in the awakening that our visitors have about our beauty, our culture, our country and our people. - Dr. Danny Johnson

“

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the preparation for the following year’s event to come into their artistic dignity,” says Dr. Johnson. “Only when we have this national call to duty and respect for participation in the Festival do we have the foundation to build a sustainable base,” he says. The Ministry has also embarked on a three pronged approach in this regard: - Facility. Academy. Management. “These components are vital and

essential to the preparation of our people for what we intend to showcase. When the world comes to our doors post-lentern season next year we must anticipate that they will come with the highest expectations of excellence and merit,” says Dr. Johnson. “We are not isolating this to Nassau and we are not isolating this to a fun filled weekend. This Festival may come in various segments of performance and display with the

grand finale being played out over the concluding weekend. When the curtain closes on Act One Scene one in 2015 we want the backstage work for 2016 to already be in full bloom and all of the performances to be sold out. “You only achieve this through Facility, Academy and Management. Our people once exposed to the huge benefits to be derived from this event will be required to sign on and to conduct themselves in the

the manner of our bearing,” says Dr. Johnson. “And while we are doing this we want our people to maintain one key focus. And that is while we are inviting the world to run come see… this is for our enjoyment and our development. The Festival is the fullest cultural expression of the authenticity of who we are. I am not keyed into an apologetic re-enactment of our history to appeal to the conditioning that former British colonies inherited

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courage and the will to turn on the criminal element and let it know that their game is done,” says Dr. Johnson. “I should expect that every community participating in the Festival will recognize that regulations and management will not allow the slightest infraction of disorder or lawlessness and where it is identified and caught those communities will lose their opportunity,” says Dr. Johnson.

from the Plantation Society.

what was,” says Dr. Johnson.

“When we go to Clifton, which is the sacred ground of where our three major historical cultures met I expect that the our people will properly honour the spirit of their African ancestors and not sugar coat the reality that was Clifton.

“It is when we are able to take off those mental shackles. To do as Bob Marley, a great Caribbean artist, influenced by the vision and teaching of Marcus Garvey calls on all Caribbean people to do which is to free our minds from mental slavery,” Dr. Johnson says.

“It’s the same thing with our people’s experiences on the American Contract where hundreds of Bahamian men and women and children were employed as crop pickers in the vicious American South during the most heated days of Jim Crow. Yet somehow it has been bled into the Contract story that this experience for Bahamians was a vacation… a delight… a wonderful opportunity to make money and to take care of their families. Once you understand and read the histories of what transpired on those American South Plantations you recognize that the time has come for the fabled story to end and for Bahamians to get up off their knees and stop apologizing for

“I truly believe that this freedom will transform our people and our communities. I expect the Bahamian people who have so much to gain in this new dispensation to assist the Police in cleaning up the criminal elements in their midst. What community will allow a few bad apples to disallow them the opportunity to see millions of dollars spent in Fox Hill, Adelaide, Carmichael Road, Black Village, Golden Gates, Flamingo Gardens, McCullough Corner, West End, Coopers Town, Marsh Harbour, Old Bight, Dumfries, Fire Road … just because we don’t have the

Did y ou kno w? KING ERICSSON

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King received his first “big break” at the age of 23 when his talent with the congas was prominently displayed in a memorable night club scene in the James Bond movie, Thunderball. He left Nassau for drama studies in Canada, formed a jazz band in New York City, and spent a year performing in a Bermuda club where he met Redd Foxx who invited King to appear at his place in Los Angeles. Sammy Davis Jr. asked King to appear on the Hollywood Palace, and Cannonball Adderly became his mentor in the recording studio. As a session musician, King has worked with a very diverse group of artists representing a wide variety of musical styles. King has been praised as “the unsung hero behind Motown” by Ray Singleton in her book Berry, Me, and Motown as well as by Berry Gordy in his book To Be Loved for his work with artists such as Marvin Gaye, Diana Ross, The Temptations, Smokey Robinson, Michael Jackson, the Jackson Five, and many others. He has also worked with Herb Alpert, John Klemmer, Doc Severinsen, Ringo Starr, Blood Sweat & Tears, Jim Stafford, Swamp Dogg, Barbra Streisand, David Cassidy, Bobby Darin, Nancy Wilson, Johnny Mathis, OC Smith, Lou Rawles, Hodges James and Smith, Mickey Stevenson, Barry White and The Carpenters. He was a featured member of the Incredible Bongo Band and has been a member of Neil Diamond’s touring band since 1976.

As a solo artist and composer, King is best known as a master of funky disco with lots of congas. His early albums are prized by “breakbeat hounds.” His more recent solo albums can be classified as jazz with a Caribbean flavor. His songs have appeared on albums by Neil Diamond, Eddie Kendricks, Flora Purim, The Temptations, and in the soundtrack of the movie, Ted and Venus. Music Masters Celebrates the icons of Bahamian music & culture-

As an actor, King has appeared in the movies Uptown Saturday Night (with Bill Cosby and Sidney Poitier) and on television in Abe Vigoda’s Fish series and The Watcher, the 1980 remake of The Jazz Singer with Neil Diamond, and the movie Thunderball with Sean Connery. King also stars in a music video of the song Mountains of Love. He sings and dances in addition to playing the congas.

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Tony Seymour: He wrote

"Pretty Blue Eyes" and performed it before the BeeGees took it to Chart topping success.

Shakara Ledard: is a

Amos Ferguson:

Bahamian folk artist is known for his brilliantly colored Bible and Bahamian scenes, and his one man exhibition at the Smithsonian

model and actress, originally from The Bahamas. She has posed for Sports Illustrated's Swimsuit Issue as well as for Maxim Magazine. Ledard has been featured in music videos for Justin Timberlake, Usher and Babyface.

Theodore Elyett:

International Bahamian Stars

The Bahamas wins season 3 of Mission Catwalk the largest Caribbean fashion designer competion

Did y ou kno w? NASSAU GONE FUNKY

Funky Nassau took the world by storm. The Beginning of the End was formed in 1969 and Freddie Munnings, Sr.’s sons Frank, Ray and Roy were coming into their own rather than remain in the shadow of their famous father. Frank was on Bass, Roy on guitar, Ray on the organ, Fred Henfield on fourth bass, Livingstone Colebrooke on guitar. They released Funky Nassau in 1971 on the Alston Record label, a subsidiary of Atlantic Records. Funky Nassau went onto reach # 15 on Billboard Hot 100; #7 on Billboard Black Singles and #31 in the UK. The album was released in parts 1 and 11. Funky Nassau had a major resurgence a few years back when it was remade and featured in the movie “The Blues Brothers Part 2” with Dan Aykroyd.

Music Masters Celebrates the icons of Bahamian music & culture-

The Beginning of the End anchored young people in the early 70s with the vision and hope that with hard work and discipline they could take their talents to first world standards and win international audiences with a fusion of Bahamian sound. Nassau was awash in Funky Nassau excitement in the early 1970s. The flashy Corvettes, the stylish outfits and a tune which still keeps us dancing and sells Nassau to the world remains strong in our nostalgia.

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DEFINING THE NATION'S RICH HERITAGE

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Lens of The Bahamas STANLEY TOOGOOD (d) The Dean of Photography in the Bahamas. His work includes the visit of HRH Princess Margaret, the first Royal Visit of HM Queen Elizabeth 11 and Prince Philip, the Yamouth Castle cruise ship fire, the first straw market fire. His lens captured the Bahamas as a colony and then as an Independent nation. Dame Marguerite Pindling, as a young girl landed her first job when she arrived in Nassau from her home in South Andros as a Clerk in Mr. Toogoodâ&#x20AC;&#x2122;s Bay Street studio. DEREK SMITH The energizer bunny of News Photographers with a special eye for detail. His work has spanned almost 40 years. MARGARET GUILUAME She started out as a News Photographer over 40 years ago and her work continues to capture the major stories and events. ROLAND ROSE Through his lens he has essayed the culture of the ordinary Bahamian about their daily ordinary task and covered major events which chronicled our Tourism industry and the hospitality and natural attractions of our country.

VINCENT VAUGHN An American who adopted The Bahamas as his home and whose lens has captured just about every Miss Bahamas Beauty Pageant, national and cultural events.

EILEEN FIELDER (d) A life of work as a copy editor with the Bahamas News Bureau stretching from the days of the Development Board. Fielder, Rose and Maura were the team which supplied the photos and copy which put The Bahamas in magazines and newspapers all over the globe. ANTOINE FERRIER From a proud Haitian lineage and with a life of work in The Bahamas he continues to astound at his Fort Fincastle Studio as the countryâ&#x20AC;&#x2122;s pre-eminent portrait master. FREDDIE MAURA (d) A cornucopia of work from the days of the Nassau Development Board which became the Ministry of Tourism to his sojourn with the Bahamas News Bureau with Roland Rose under William Kalis (d).

E. GARTH MITCHELL (d) The Chief Photographer of the Nassau Guardian for over a quarter of century who stole a shot of the exiled Shah of Iran while holed up at the Ocean Club, Paradise Island after he fled the Islamic Revolution in Iran to just about every other major national and international news event.

Did y ou kno w? BERT WILLIAMS

Bahamian Bert Williams was the First Mega Star of the American Broadway Theatre and #1 Comedian and Vaudeville Star

ert Williams was born In the Bahamas on the 12th November 1874 to Bahamian parents, Frederick Williams Junior and Julia (nee Moncur) Williams according to his birth certificate in the Registry of Records in Nassau at entry 24 in St. Matthew’s Parish. At the age of 11 young Bert left Nassau with his parents for South Florida where the family remained for a long spell before moving to California where Bert completed high school and opted out of attending Stanford University for a planned career as an engineer, choosing instead to follow his passion as a singer, comedian and dancer. He quickly became the toast of the New York Broadway and his lifetime is praised as one of the most significant “coloured artist” to have broken the racial barrier in a time when race mattered most in America.

His Vaudeville character which he personified to great success was that of a “slow talking, deep thinking victim of life’s misfortunes”. His famous line was, “even if it rained soup, I would be found with a fork in my hand and not a spoon in distant sight”.

Music Masters Celebrates the icons of Bahamian music & culture-

the greatest comedian and vaudeville star of the time. Bert Williams made several recordings for Columbia and his signature song, “NOBDOY” became an instant hit and a classic. “When Life seems full of clouds and rain, Who soothes my thumping bumping brain? (PAUSE) NOBODY When winter comes with snow and sleet And meets me with hunger and cold feet Who says, ‘here’s two bits, go and eat?(PAUSE) NOBODY I aint never done nothing to Nobody I aint never got nothing from Nobody, No time. And until I get something from somebody sometime, I don’t intend to do nothing for nobody, No time”. At the top of his career starring in New York in Ziegfeld Follies, Williams was earning $62,500 per year or $1.5 million in 1920.

One of his celebrated great performances was in the smash hit, “In Dahomey” in which he got to relish the history of Africa and the pride of his race. He was the first Black performer allow on stage with White Women and in interviews with the American Press he was always quick to point out the racism in which he endured and how he set about conquering it.

He said his greatest performance was in the UK at a Command Performance for the King of England. “It was the proudest moment of my life… to appear before my Sovereign for I am British born hailing from the Bahamas.” Williams died at the age of 47 and even in death broke the colour barrier as he was laid out in the All White Masonite Lodge in Manhattan having become the first Negro admitted in the lodge’s century old history.

The American Vaudeville icon, W. C. Fields, hailed Bert Williams as the greatest comedian he had ever met and Fields’ own biographers said that next to Bert Williams, Fields was

The press of the time said more than 5,000 people filed passed his casket and even more than that number was turned away.

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Suggested Reading

THE BAHAMAS

1. “Slavery in the Bahamas”. Published 1983. By Dr. Gail Saunders. London McMillan Caribbean. 2. “The Land of the Pink Pearl”. Published 1881. Recollections of Life in the Bahamas. By Powles, former Stipendiary and Circuit Magistrate. Slow, Searle and Rumington 3. “Bahamian Loyalists and their Slaves”. Published 1983. By Dr. Gail Saunders. London McMillan Caribbean.

4. “The American Loyalists and the Plantation Period in the Bahama Islands”. Published 2006. By T. P. Peters. Gainesville University of Florida Press. 5. “Post Emancipation race relations in the Bahamas”, and “The Non-Violent transformation from a Slave to a free society “. By W. B. Johnson. University of Florida Press and University of Arkansas Press, Fayetteville.

6. “Islanders in the Stream: The History of the Bahamian People”. By Michael Craton and Gail Saunders. Athens, University of Georgia Press. 7. “The Story of the Bahamas”. Published 1992. By Dr. Paul Albury. London McMillan Caribbean. 8. “Take me back to Guanahani” and “Pirates Paradise”. By Vera Chase 9. “Gems from the Island”. By Clarabelle Williams

10. “Talkin’ Bahamian: A useful guides to the language of the Islands”, “How to be a truetrue Bahamian” and “An Evening in Guanima”. By Patricia Glinton-Meicholas 11. “Wind from the Carolinas”. By Robert Wilder. Published 1964. G. P. Putnam and Sons New York.

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Her smile is like poetry Simple and calming Complex and knowing Showing me the way Of her heart.

Her smile is like poetry Her meter just perfect And knowing her subject And, yet, naïve In its style.

Her smile is like poetry And in her sweet rhyme And stanzas and time, Sublime as it is, I feel her flow.

Her smile is like poetry Digging inside To where I hide That side of me That only she knows.

Her smile is like poetry It gets in my mind It gets in my eyes And sighs that escape From my lips.

Her smile is like poetry A sonnet for two A story so true

Sunset

And all became quiet As the day faded And the night grew Stronger And longer Into the sky Tangerine dreams Mixed with grays And blues and hues so new That I could only Sit And watch And Wonder At the kinetic masterpiece Before me. And I saw the sun

Turn red And melt And bleed Into the blue sea Transforming All around To colours so serene That I forgot That I was Only watching. by Eric Rose

But few hear it saying Like I hear it saying Those words she is saying: “I love you.” by Eric Rose

ERIC ROSE

Poetry

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The Top 25 Songs for The Bahamas Carnival Song Competition include:

n May 8, 2015, the Music Masters Concert will feature a Grammy award winning artist along with the Top 10 finalists in the Bahamas Junkanoo Carnival song competition. The competition started with 180 entries. Now, 25 semi finalists will compete for the Top 10 spots at the Music Masters Concert. On an iconic stage like none other in the world, one of these Bahamian musicians will be crowned “Champion” of the Bahamian sound.

1. “Going Home”, Ian Alleyne-McQuay 2. “Junkanoo Rock”, Tyrone ‘Plati Dread‘ Barlett 3. “Better in The Bahamas”, Raymond Campbell

4. “Rushin Down the Road”, Christopher ‘Sketch’ Carey 5. “Wine Like a Champion”, Christopher ‘Sketch’ Carey 6. George Christopher Fox, “Happy Birthday Bahamas” 7. Bodine Johnson, “All Day All Night”

8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25.

“Jump & Carry On”, Colyn McDonald “Carnival is here”, Colyn McDonald “Carnival is my Junkanoo”, Sonovia Pierre “Bahamas Carnival”, Sonovia Pierre “Carnival Party” Sonovia Pierre “Jump in Da Line”, Sammie Starr “Bahamas Come Together”, Cambrell Poitier “Bahamas Carnival”, Valerie Richards “Carnival is Here”, Raj Saunders “Fly Away with Me”, Khiara Sherman “Bahamaland By Da Sea” Dwayne Simmons Ericka ‘Lady E‘ Symonette, “My Islands in the Sun” “Roll Mama”, Terrelle Tynes-Wilson “Mash up this Carnival”, Terrelle TynesWilson “Bahamas Carnival”, Preston Wallace “In the Carnival”, Georgina Ward-Rigby “We are the Night”, Angelique Sabrina White “Make Ya Feel Good”, Angelique Sabrina White

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Dr. Elwood Donaldson

Bahamas Ambassador to UNESCO

Bahamas Signs on to Three UNESCO Conventions The Bahamas has become a party to the following UNESCO Conventions:1. The 1972 World Heritage Convention 2. The 2003 Intangible Heritage Convention; and 3. The 2005 Diversity in Cultural Expression Convention.

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Addressing UNESCO in New York in May of this year Dr. Daniel Johnson Minister for Culture said the Conventions make it possible for The Bahamas to lists cultural assets internationally. The Bahamas’s Ambassador to UNESCO is His Excellency Dr. Elwood Donaldson, former Member of Parliament. Out of the 1972 World Heritage Convention Dr. Johnson said The Bahamas will be listing the

following attributes:1. Columbus’s First Land Fall 1492 at San Salvador. 2. Deans’ Blue Hole at Long Island- the deepest in the world. 3. The White Salt Flats at Inagua. 4. The world’s greatest population of West Indian Flamingos at Inagua Dr. Johnson told UNESCO “cultural heritage and cultural creative industries play an important role in the reduction

“

Cultural heritage and cultural creative industries play an important role in the reduction and eradication of poverty, promoting sustained urbanization and promoting peaceful societies.”

and eradication of poverty, promoting sustained urbanization and promoting peaceful societies.”

UNESCO DELEGATION – (from left to right) Ambassador Dr. Elwood Donaldson, Minister Dr. Daniel Johnson, Secretary General to UNESCO Dr. Leon Higgs and Mr. Calvin Balfour, Permanent Secretary Ministry of YSC

TRANSFORMING INNER CITY COMMUNITIES He informed on the “Violets are Blue” programme here at home where the country is attempting to revitalize one of its historic districts. “The programme focuses on commerce, empowerment art and entrepreneurship for the two inner city communities, The Farm Road and Bain and Grants Town communities, which in recent times have been hit by gang violence, poverty, unemployment and a myriad of other social issues,” he said. “The Programme has been led by a group called the Heritage Rangers and focuses on the transformation of historical sites within this community where notables like the late Martin Luther King and Marcus Garvey

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would have visited or resided at one times with great Bahamians such as Dr. Claudius R. Walker and Reverend Dr. Reuben E. Cooper,” Dr. Johnson said. “The programme also includes the renovation and improvement of parks and recreational green spaces in the community to provide a comfortable environment for residents as well as provide the opportunity to implement walking tours of historic Nassau,” he told UNESCO. ‘CULTURE IN THE NATION’S CLASSROOMS’ The Minister said this September the Government through the auspices of his Ministry and the Ministry of Education Science and Technology would introduce to the nation’s classroom the implementation of a historic cultural component called ‘Culture in the Class’. “For Small Island States like the Bahamas to survive; a delicate balance between market forces and indigenous values must be found. The vast numbers of visitors with who we interface on a daily basis undoubtedly influence what we have inherited from our forefathers. Further in the last forty years since

CONVENTION SIGNED- (from left to right) Dr. Daniel Johnson, Dr. Elwood Donaldson, Dr. Linda Moxey –Brown, Director of Culture, Dr. Leon Higgs UNESCO Secretary General, The Hon. Jerome Fitzgerald Minister of Education Science and Technology.

“

Independence we have come to recognize the importance of culture in the achievement of sustainable development,” Minister Johnson said.

The Minister told UNESCO, “I take this opportunity to reaffirm our belief in the significant role of culture as both a beneficiary and crucial enabler of sustainable development which impacts each of its three pillars, and, our conviction that the unique contribution and vast potential of culture should therefore be adequately reflected in the post-2015 development framework”.

Further in the last forty years since Independence we have come to recognize the importance of culture in the achievement of sustainable development.

“From the country that brought you Sir Sidney Poitier (Lilies of the Field) James Weldon Johnson (Lift Every Voice and Sing) and in recent times BahaMen (Going Back to the Island, Who Let the Dogs Out), we take this

opportunity to convey that in a world in need of healing the traditional knowledge and values of our respective cultures is the cure,” Dr. Johnson said.

Did y ou kno w? Dillon “D-Mac” McKenzie Music is a word synonymous with the name Dillon McKenzie – and not the other way around. All across the Bahamas’ archipelagic chain, Dillon McKenzie can easily be characterized as a “Music Czar”, having mastered all of the intricacies of the craft behind the scenes as a producer and engineer, in front of the scenes as an artist and performer, and smack dab in the middle as a songwriter and arranger. When it comes to music, only one word comes to mind when you hear Dillon’s name: genius. His unique and innovative skills can be attributed to helping create local and regional stars out of such names as K.B., Funky D, Geno D, Ira Storr, Terez, Spice, Ronnie Butler, Spank Band, Da Brilanders, Nita, Spice, Angel, Avvy, Stileet, Lacie Doe Boys, Wilfred Mullings, Eddie Minnis, Visage and Sweet Emily. Yet, his name is huge on the gospel music circuit as well, having produced and written hit songs for award-winning gospel artists like his brother, Bahamian gospel great Kevan McKenzie, Christian Massive, Landlord, The Singing Prophet, Vanessa Rolle-Clarke, Marky Maxx, Selecta, Geo …and so much more.

Yet, although with roots deep-seated in a rich Christian heritage, this pastor’s son has multiple overlapping gifts that transcend all musical genres. This gives him the power to create music that makes the world want to stop and take a listen whether you need Jesus on the main line, or just want to let your hair down and have a good time. His musical talent was discovered at early age and in fact, it was more like a self discovery. When he was young, he would listen to 8 tracks of Bahamian music legends such as the Region Bells and Eddie Minnis. This love for music was further harnessed by his big brother Kevan who first began teaching him how to play the piano …and the rest is history. He took his musical baby steps playing for Sunday morning devotions with his family and for Sunday School, and then further wet his musical appetite when his father invested in his first set of DJ equipment as a teen. Hence, he became a very popular Disc Jockey while attending Queen’s College. He continued to crawl his way through this musical journey after experimenting with recording equipment that his brother brought home. Eventually, with his DJ experience, tinkering with his recording toys, and his piano playing skills, Dillon started to write and produce his own songs.

He and his brother Kevan went on to produce hit albums, winning numerous awards and song competitions including the Commonwealth Song Competition. Their winnings were invested into the establishment of Commonwealth Recording Studios. Today, Dillon has shown that he is ever changing as he has evolved once more from just being the man in the background to being the man in the spotlight….and my how bright the light shines on “D-Mac”. That’s the name that everyone knows. D-Mac is someone whose heart is embedded in the music industry and as an artist, you can hear it beating all through his music. D-Mac is a goaloriented and purpose driven music artist, as seen in his quest to release one song per month from April 2011 to January 2012…and he did it. He released his first album entitled “Party Zone” which best describes the songs on this solo project. It calls for movin’, shakin’, rockin’ and winin’ and is sure to rock any party or social event with hit songs like “Dog Don’t Bark At Parked Car”,” Rock you all night”, What I’m gonna do”, “What you working with”, Da Gaulin Song”, Ya Gal Ga Look Like Dat, Let It Stay Here, The Boat Man” and many other energy filled Bahamian Rake ‘N Scrape songs.

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Bahamas Junkanoo Carnival 2015 will be “peaceful and orderly”

r. Daniel Johnson, Minister of Culture is giving strong assurances to the hundreds of thousands of tourists, guests, visitors

and Bahamians to next May’s premiere Bahamas Junkanoo Carnival Festival that “security will be paramount, public safety top priority and security protocols strictly followed to allow for enjoyment and the highest economic yield for hundreds of Bahamian entrepreneurs.” The Minister said “we cannot have violent criminal pestilence in this event and around this event. It is unnecessary, it will be deleterious to our way of life. We are not going to tolerate it. It is as simple as that. We are not going to tolerate it.” Dr. Johnson reminded that his Ministry’s Sport portfolio was proud of the conduct of the recent IAFF World Relays at the Thomas A. Robinson Stadium in July this year. He said working with the same team and proven protocols from that event, it is hoped that the Bahamian people will support every measure put in place to secure the reputation of the Bahamas and for the protection of every individual. “You will see those same principles at work again. The Police will do their job,” he said.

ownership of the Dundas, but she was

In 1990 Cookie was employed as a

voice on many a radio advertisement,

also actively involved in the building’s

Cultural Specialist at the Quincenten-

in particular the “Superwash” commer-

being converted into the theater it is

nial Commission. This organization

cials. When it became fashionable to

In November of 2008 yet another phase

today.

was responsible for the execution of

perform radio commercials in dialect,

of her life began. She was asked by

the events commemorating the first

naturally she was one of the first to

the Ministry of Tourism to become a

In the early 1980’s a new group was

landfall of Columbus. It was during

have a radio commercial done. Today,

Tourism Ambassador. This entailed

formed, James Catalyn and Friends.

this time that she was introduced to

this has not stopped.

her meeting and greet visitors at the

Cookie was an active member of this

Cleophas Adderley and The Bahamas

group until 1989. The group is know

National Youth Choir. This rela-

More recently, she has taken on the

port for approximately three hours on

for its comical review of all things

tionship continues today. Her travels

role of a Story Teller, and may be seen

selected days.

timely and topical, from religion to

with this young group of talented

at many a local event on weekends

politics.

ambassadors have taken her as far as

keeping our “oral tradition” of story

She is one of the cornerstones of Baha-

Russian and South Africa and as close

telling alive. Inspired by the late Dr.

mian Theater.

In 1981 she was a part of a group sent

as Eleuthera, The Bahamas. She has

Cleveland Eneas and the way he told

to represent The Bahamas at Caribbean

the greatest respect and admiration for

his Ber Bookie and Ber Rabbie stories,

Festival of Arts, in Barbados. She took

Mr. Adderley and the work that he has

she aims to be as good a story teller as

major roles in James Baldwin’s “The

done with this choir, and she considers

he was.

Amen Corner” and ‘Them” by Winston

herself honored to travel with them as

Saunders. Both plays were very well

a chaperone.

received.

Lynden Pindling International Air-

In November 2001, Cookie was

‘Going down BURMA ROAD .. Don’t Lick Nobody’

featured in the first locally produced It was also in 1991 that she had the

Bahamian movie ever to play commer-

Growing out of the preparation of

honor of representing her country at

cially in Bahamian cinemas (Nassau,

the CARIFESTA plays, the Dundas

the Edinburgh Fringe Festival, Scot-

Freeport and Abaco) – Plantation

Repertory Season was founded in

land, where she performed in “You

Picture’s version of Nicolette Beth-

1980 by Winston Saunders and Philip

can lead a Horse to Water” by Winston

el’s “Powercut”, adapted by Manny

Burrows. Now, if we haven’t blown

Saunders and “Music of The Bahamas”

Knowles. She is also a founding mem-

Cookie’s horn enough already, it’s time

an adaptation from the late E. Clement

ber of Ringplay , the theater produc-

to do so now. This was where the

Bethel’s thesis done by Nicolette Bethel

tion company behind “Macbeth” and

sheep were separated from the goats. If

and Philip Burrows.

“Music of The Bahamas”.

the place to see it. This season was to

In 1991, she was the recipient of the

In January of 2004 a new phase of her

continue for Eighteen (18) more years,

first “DANSA Award” in the category,

life began. She along with Patricia

during which time Cookie performed

Best Actress in a Supporting Role for

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sa”, “Amen Corner”, “The Rhimers of

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and, of course, her signature perfor-

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television commercials and heard her

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family islands.

particularly to those persons in the

I AM A BAHAMIAN

BAAM - The Launch Edition

‘Rhythms of Africa… ‘Melodies of Europe… ‘Sounds of the Caribbean’ Freddie Munnings Jr wants the Festival to re-energize Bahamian creativity.

Our Ashley Williams sat down with cultural icon Freddie Munnings Junior and came away with a rare glimpse of the social thought of this second generation Bahamian Entertainer. The question of whether art follows politics or vice versa is often asked. However, in the person of Mr. Munnings, one will find a perfect balance of these paradigms. Mr. Munnings is not only an affluent musician but also a social activist. His voice is often heard on the radio waves as he debates a myriad of issues which affect the country.

BAAM - The Launch Edition

A.W. Mr. Munnings, first and foremost I would like to personally thank you for taking time out of your busy schedule to conduct this interview. F.M. The pleasure is all mine. A.W. Your brother Raphael was able to achieve a mod-

icum of international success. Why havenâ&#x20AC;&#x2122;t many other Bahamian artists, with the exception of Baha Men been able to emulate his success? F.M. Indeed, both my brother Raphael and Baha Men would have received many successes internationally. There are a number of other Bahamian artists who would have achieved international success. A few of the names which come to mind are, Joseph Spence; whose style of guitar play has been the center of intensive study. Moreover, Tony Mckay aka The Obeah Man achieved a lot of success on the international market. Other successes include Eloise Louis, Johnnie Kemp, and the T-Connections. Sadly, many Bahamians are unaware of the contributions that they would have made to music locally and internationally. contâ&#x20AC;&#x2DC;d on next page

BAAM - The Launch Edition

“

My father was really ahead of his time. Here, was a man who in a Bahamas where segregation was enforced was able to bring the best Black American artists to the Bahamas, to perform for the black population of the country.

Cultural Fest slated for2015 enhance and evolve the craft of Bahamian music and song writing? F.M. I hope so. But I think it can only bring about this result if there is a conscientious effort on behalf of its organizers and promoters to look at our traditions and bring them to the forefront. I am a strong proponent of history and I am of the opinion that any evolution of culture which takes place; will only stand the test of time if it layered on a firm foundation. That foundation is our history and traditions.

A.W. What makes Bahamian music different from other Caribbean music?

F.M. I don’t know if I would

say that it is different. The best phraseology which comes to mind is a statement which was made by the Hon. Rex Nettleford. He described Caribbean music as the, “Rhythms of Africa and the melodies of Europe.” I think that the late Professor’s sentiments hold true. However, as a musician there are some technical differences. Jamaican reggae for instance is performed on the upbeat whereas Junkanoo is performed on the down beat. This minute difference gives each style of music a unique flavor; which can then be categorized as belonging to this or that island state. Another difference in the music is the instruments themselves. The Caribbean has

a history of slavery as you know. These tough times would have resulted in slaves using crude instruments in order to recreate the indigenous sounds of Africa. In the Bahamas the use of cow bells, saws, washboard, and scrapers are common place in the making of our music because of this. Whereas in Trinidad as a result of their Oil industry, those huge steel barrels and pans were used in the making of their music.

A.W. Your father would have been a pioneer in the nightclub industry in the country. Do you have any thoughts to share in that regard? F.M. My father was really ahead of his time. Here, was a man who in a Bahamas where segregation

“

A.W. Will the proposed

was enforced was able to bring the best Black American artists to the Bahamas, to perform for the black population of the country. He also would have brought a number of music teachers to the Bahamas during that era; in an effort to expose the ordinary Bahamian of the happenings which was occurring outside of this country. A huge part of my father’s success in the business of nightclub ownership was the segregation itself which forced blacks to cultivate their own means of entertaining themselves as they could not do in the same spheres as their white counterparts. Sometimes, when I sit and think about it, I can’t help but feel that when we as a people had less (material) things that we actually had more.

BAAM - The Launch Edition

A.W. Do you wish to expand on

what you mean? F.M. What I am saying is, that when life was difficult for us as a people; we seemed to be more creative. As a child I made my own toys. Nowadays, children cannot even fathom that idea. Earlier, you asked me what I would expect from the slated cultural festival, well what I really want is the return of Bahamian creativity.

A.W. Does this creativity extend

beyond the boundaries of art and crafts? F.M. Of course it does! The arts

themselves are nothing more than tantalizations for the mind. It is meant to expand human thought and force man to portray his own creative force. Therefore, good art makes a good surgeon better, makes a lawyer more astute, and politicians more keen on the following the will of the people.

A.W. If this is arts true power is

it being effectively utilized in the Bahamas? F.M. Art is being utilized for the same aims. The problem is that it isn’t our art. We are being bombarded daily with external influences

which have denigrated our perceptions of what Bahamian society should and can be. The American dream is fine if you are living in America but our ethos here is entirely different. Until, we begin to cull and cultivate our own stories which illustrate Bahamian successes and depict our norms and values, I am afraid that the continued denigration of our society will continue.

A.W. In which forms have this denigration taken place? F.M. Haven’t you seen the young men walking about with their pants

below their waste? Haven’t you seen the wanton disrespect that certain young men have towards females? The behavior that certain groupings in our society display are not based on Bahamian cultural norms. But rather is the result of external influences. You see art mimics life but the real danger is when life mimics art.

A.W. I would like to end on that

profound statement. Once again thank you for having me. F.M. It’s always my pleasure to assist young and capable men like yourself in any way that I can.

BAAM - The Launch Edition

A REAL BAHAMIAN THING!

700 Islands of Culture: The National Arts Festival of The Bahamas

ishgo Collie looks with pride at her young students performing a song in her small one-room classroom on the island of Long Cay. Their numbers hardly ever made it over half a dozen students on the small island in the Southern Bahamas, yet they always participated with such vigor and passion that the adjudicators in the E. Clement Bethel National Arts Festival always look forward to making the lengthy motorboat ride just to visit them and grade their performances. However, what I remember most about the visits to Long Cay All Age School is that more than half of the children were her own little ones and she treated all of her students like they were brothers and sisters. I saw unity and pride and caring on a tiny sun-kissed island that is lovingly known for having â&#x20AC;&#x153;35 people and 2,000 goatsâ&#x20AC;?. Covering the E. Clement Bethel National Arts Festival for almost a decade gives me an opportunity that I revere and do not take lightly. It is a blessing and exhausting and frustrating and beautiful all at the same time. I get to see The Bahamas in a way that most of my fellow countrymen could not even imagine; yet I pull hours way into the evening, travel on small planes for long periods of time and get a close-up view of what happens when talented people are forced to be in close contact for longer than they should be.

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“

This Festival is more than 50 years old; but is still not a household name in The Bahamas.

But, I am honoured to do it and have never regretted a moment of this work from the first time I volunteered. I am always amazed at the dedication and skill displayed throughout the country by those who enter the Festival, as well as by the organisers – notably the current Organising Secretary and musical artist Keva Cartwright – and adjudicators. This Festival is more than 50 years old; but is still not a household name in The Bahamas. We are talking about 10s of 1000s of Bahamians – mostly students – who have taken part in it. I even took part in the Fes-

tival when I was in grade school at C. W. Sawyer Primary and I still remember the McDonald’s reward we got from the principal when our “little” boys’ choir beat the stuffing out of all the private schools that sang against us that day. Yet, it is not “fashionable” enough to get proper coverage on local television news or on the radio.

However, that attitude towards it is slowly changing – in part due to the conscious move towards the encouragement of cultural development and tourism by such leaders as Prime Minister the Rt. Hon. Perry G. Christie, Minister of Tourism the Hon. Obie

Wilchcombe, Minister of Youth, Sports and Culture Dr. the Hon. Danny Johnson and the former Minister the late Charles Maynard. A nation who values its culture is creating a force that can sustain it forever. In 2008, I listened to then Governor General of The Bahamas His Excellency Arthur D. Hanna say that he was proud to be the patron of the E. Clement Bethel National Arts Festival that year because it supports all artists, especially budding artists and adding that it is the only tool in which Bahamian schools can "truly compete on a national level" in all of the art forms.

"As a people, we as Bahamians should be proud of the fact that the Festival movement has honoured so many people and endured so vibrantly all these years," Governor General Hanna said. "It is without question one of the most educational tools we all have at our disposal in all of the performances and visual art forms," he said, "It is surpassed by none, anywhere in our world." Governor-General Hanna said Bahamians should be proud of the E. Clement Bethel National Arts Festival and make sure that it endures for another 49 years.

"We must all be thankful for the E. Clement Bethel National Arts Festival by giving thanks to Almighty God for blessing this nation with such an educational tool, especially for the youth of this nation," he said. In the E. Clement Bethel National Arts Festival is the only “truly national” Festival in The Bahamas. Participants hail from nearly every inhabited island in the archipelago and their performances are scored and put up against those throughout The Bahamas. In other words, a youngster singing a gospel or Bahamian song in the capital of New Providence is competing against a student on

“

BAAM - The Launch Edition

The E. Clement Bethel National Arts Festival is important to The Bahamas and, in turn, to the world.

ing and his performance was so solid that he regularly scored above a 95 out of 100. After one of these brilliant recitals, I told him how much I enjoyed and appreciated his gift and talent. He said to me with a smile, “Thanks, if it wasn’t for church and the Festival, I wouldn’t have anywhere to sing.” That hit me hard because his was not the exception, but the rule of that day.

“

Too many times I met persons like actors from Crooked Island or singers Eleuthera who had to “put that all behind them” and stop showcasing their talents.

Staniel Cay, Exuma, where you can go around the entire place in less than half an hour (amazing beautiful trip, nonetheless). Just last year, the current Governor General of The Bahamas His Excellency Sir Arthur Foulkes said at the Festival’s Awards Ceremony, “The festival also celebrates and helps to preserve many positive aspects of Bahamian culture, and in so doing, helps to pass on rich cultural memories of our ancestors.” I have seen children singing in public for the first time in their lives and I have seen “veterans” who have

entered the Festival for almost every year they were in school. I have covered preschool dancers who just try to remember the moves of an “I’m a Little Teapot” routine to professionals in prestigious national academies. Whatever their reason for entering, they give their all and strive for that chance to shine for the adjudicators. They love to sing, to dance, to paint and draw, to act and have dreams about being a star. However, one of the sad realities that most of the

older performers realise is that there are not enough chances out there to showcase their talent after the Festival.

I felt for them not just because of how sad it is to let a light go out, but also because I have a nine-yearold son and grandchildren and I would hate for the same to happen to them.

In the past few decades, there was a void of opportunities for artists and performers to shine. Every Bahamian has a relative or friend who “could really sing” or is “an amazing dancer”. Yet, that dream is not in sync with the reality in which they live.

But there is hope for them and future artists.

I remember an amazing baritone in one of the Family Islands who, for many years, won the Festival in his singing class nationally. His sound was awe-inspir-

Bahamians are a talented people and this “Cultural Renaissance” is refreshing and encouraging.

Because of the renewal of interest in Bahamian culture, my countrymen – who are not just into Junkanoo or sports – can excel on even on the international stage.

Also, the E. Clement Bethel

National Arts Festival encourages Bahamians to believe that they can do it. Just look at the adjudicators that have scored the performances over the years and aided in it being what it is today. National cultural icons such as James Catalyn, the late Winston Saunders, Patricia Bazard, JoAnn Callendar, Cleophas Adderley, Audrey Dean-Wright, Lawrence Carroll and the Festival’s namesake the late E. Clement Bethel have all graced the international stage and shown the world that The Bahamas has a voice. Now, the artists and performers today have the opportunity to stand on their shoulders and learn from those who already tasted what the world has to offer. The E. Clement Bethel National Arts Festival is important to The Bahamas and, in turn, to the world. I am lucky to be part of this initiative, even if it just as a journalist and photographer. Who knows, maybe one day, I will also be one of those proud parents or grandparents cheering as they take to the stage and wow the world. The world is waiting for us and the E. Clement Bethel National Arts Festival is giving us a step up to that spotlighted stage.

BAAM - The Launch Edition

Did y ou kno w? K.B. (Kirkland Bodie) KB over the years has been one of the driving forces behind the new Bahamian sound. The genre used in his compositions range from Rake ‘n’ Scrape, calypso, and various other hybrids and fusions of funk, junkanoo, rock, and a host of other influences. Like Dry Bread, it is at times very difficult to put a lable on the genre. I find that in this developmental process of the Bahamian sound, our being a tourist destination and being so heavily influenced by the music of the United States, makes it is near impossible not to have the feel emanating from some of these foreign neighbors. One thing for sure, KB has followed the tradition of those like Ronnie Butler, Eddie Minnis, and some of the older composers from The Bahamas. This is evident in his lyrical content, melodic interpretation, but to a lesser extent, his stylistic approach. I believe that unlike other countries in the Caribbean, our music, especially music Music Masters Celebrates the icons of Bahamian music & culture-

of the modern day composers place greater emphasis on the strong beats in the measure. This can be heard in the first song to be featured in this review. “She Fat” opened the doors for the resurgence in Bahamian music in the early nineties. Years prior to that, there was quite a dry spell in the recording of Bahamian music.

Did y ou kno w? Lenny Kravitz Leonard Albert “Lenny” Kravitz (born May 26, 1964) is a rock singersongwriter, multiinstrumentalist, record producer, actor and arranger, whose “retro” style incorporates elements of rock, soul, R&B, funk, reggae, hard rock, psychedelic, folk and ballads. In addition to singing lead and backing vocals, Kravitz often played all the guitar, bass, drums, keyboards and percussion himself when recording. He is known for his elaborate stage performances and music videos. He won the Grammy Award for Best Male Rock Vocal Performance four years in a row from 1999 to 2002, breaking the record for most wins in that category as well as setting the record for most consecutive wins in one category by a male. He has been nominated for and won other awards, including American Music Awards, MTV Video Music Awards, Radio Music Awards, BRIT Awards and Blockbuster Entertainment Awards. On December 1, 2011, Kravitz was made an Officer of

the Ordre des Arts et des Lettres. He plays the role of Cinna in the Hunger Games film series.

Kravitz was born in New York City on May 26, 1964. He is the son of Roxie Roker, an actress known for her character Helen Willis in the 1970s hit television sitcom The Jeffersons, and Sy Kravitz, an NBC television news producer. His father was from a Russian Jewish family (with origins from Ukraine). His mother was of Afro-Bahamian and AfricanAmerican descent, and was from a Christian family. During his early years, Kravitz did not grow up in a religious environment. After a spiritual experience when he was thirteen, he started attending church, becoming a non-denominational Christian. Kravitz was named after his uncle, Private First Class Leonard M. Kravitz, who was killed in action in the Korean War at the age of 20, while defending against a Chinese attack and saving most of his platoon; he was posthumously awarded the Distinguished Service Cross but was denied the Medal of Honor. On March 18, 2014 Private First Class Kravitz received the Medal of Honor in a ceremony that awarded it to 23 other servicemen who were passed because of their ethnicity. Kravitz grew up spending weekdays on the Upper East Side of Manhattan,

with his parents, attending P.S.6 for elementary school, and weekends at his grandmother Bessie (Mitchell) Roker’s house in the BedfordStuyvesant neighborhood of Brooklyn. Kravitz began banging on pots and pans in the kitchen, playing them as drums at the age of three. At the age of five, he wanted to be a musician. He began playing the drums and soon added guitar. Kravitz grew up listening to the music his parents listened to: R&B, jazz, classical, opera, gospel, and blues. “My parents were very supportive of the fact that I loved music early on, and they took me to a lot of shows,” Kravitz said. Around the age of seven, he saw The Jackson 5 perform at Madison Square Garden, which became his favorite group. His father, who was also a jazz promoter, was friends with Duke Ellington, Sarah Vaughan, Count Basie, Ella Fitzgerald, Bobby Short, Miles Davis and other jazz greats. Ellington even played “Happy Birthday” for him one year when he was about 5. He was exposed to the soul music of Motown, Stax, James Brown, Aretha Franklin, Al Green, Stevie Wonder, Curtis Mayfield, Gladys Knight, The Isley Brothers and Gamble and Huff growing up who were key influences on his musical style. Kravitz often went to see New York theater, where his mother worked. His mother encouraged his dreams of pursuing music.

BecomingMiss Cult ure BAAM - The Launch Edition

et me start with a brief history of the Miss Cultural Bahamas pageant. William Reginald Deveaux, who was inspired in 2006, after vacationing in Jamaica and experiencing their patriotism first hand, founded this pageant. He wanted to create something that Bahamians could embrace and call their own. The pageant is all about

appreciating who we are and what we have here at home. While the annual Miss Bahamas pageant follows the rules of the international Miss Universe competition, Miss Cultural Bahamas is a local event where everything must be strictly Bahamian. Evening gowns must be Ba-

Prepared young, vivacious and talented Elnicka Gibson to embrace her countryâ&#x20AC;&#x2122;s culture

hamian, float, costumes and talents must be related to the contestant's theme that is also always Bahamian. The main sponsor of this pageant is the Ministry of Youth, Sports and Culture. I decided to enter Miss Cultural Bahamas because I wanted to experience something different and something completely outside of what I was used to. This pageant truly was and is an extraordinary pageant that has given me a feeling that no other pageant can give, a feeling of patriotism. This was the 3rd pageant that I had participated in, Miss COB (College of the Bahamas) being the first in which I came 2nd Runner-up and Miss Bahamas Petite being the 2nd in which I was crowned Miss Bahamas Petite International. On October 27th, 2013, I was crowned Miss Cultural Bahamas, becoming the ambassador for culture. The feeling of being crowned Miss Cultural Bahamas was just amazing. It was an overwhelming and surreal experience for me. This was definitely something very special and it was an unfamiliar feeling for me but at the same time, I took on a big responsibility. My reign as Miss Cultural Bahamas has been a bittersweet one. While

I enjoyed being considered royalty, in the pageant world, the title Miss Cultural Bahamas is underrated. At many functions where other Pageant Queens were in attendance, it was almost as if I had to prove myself worthy to be called a queen even though I already did that by wining the pageant title. I believe this dilemma is due to the fact that the pageant isn't as well known as it should be and like many cultural aspects in The Bahamas there is a disregard or lack of appreciation for our culture. Pageantry didn't come naturally to me when I started competing at 21 years old. I stumbled on stage, stuttered when I would talk, and overall, I wasn't prepared. However, through my previous experiences I was able to gain the necessary skills and grace along the way, bringing me to this peak in my life. The Miss Cultural Bahamas pageant has instilled a sense of pride in me and has inspired me to make a contribution to my country, in some way, shape or form. Because of this pageant, I am able to embrace being Bahamian. The best part of the experience for me was meeting so many awesome people, who,

By Elnicka Gibson Miss Culture

to my surprise were genuinely pleasant and willing to assist in whatever it was that I may have needed or asked of them, including Minister of Youth, Sports and Culture, the Hon. Danny Johnson. Along with being the ambassador for culture and representing my country to the best of my ability, continuing and finishing my studies at the College of The Bahamas is the next task at hand for me. The one thing I enjoyed most about my reign was getting to be at literally everything, from various pageants to Christmas programs and Fashion Shows and the Junkanoo festivals where Hon. Danny Johnson was always in attendance. I also met many Ministers of Parliament alike including, the Hon. Fred Mitchell and our very own Prime Minister, the Hon. Perry G. Christie. I really got to see almost every aspect of our culture and participate in everything it had to offer. My platform throughout the pageant was and is "Breast Cancer Awareness Among Teenagers and Young Adults". It was exciting working along with the Sister 2 Sister Collegiate Chapter at the College of the Bahamas, where I was able to support this cause and

volunteer my time and services wherever and whenever they needed it. As far as culture is concerned, I would like to see it introduced into primary education as a subject. Our culture is one that is dying and I feel the only way to bring it back to life is to instill what it is we call culture into our children, who are the future of this nation, so that they can carry it on from generation to generation. I must say that I have thoroughly enjoyed my time as Miss Cultural Bahamas and I am looking forward to seeing who will be crowned Miss Cultural Bahamas 20142015.

BAAM - The Launch Edition

Major International Mega Event Planners are onboard to ensure success of Bahamas Junkanoo Carnival

eaving no margin for error, the Bahamas has recruited the support and networking of three of the world’s most successful and prestigious mega event organizers to sell Bahamas Junkanoo Carnival to the world. Culture Minister Dr. Daniel Johnson in an exclusive interview with BAAM said this is in keeping step with the ambitious Economic Model being developed to give The Bahamas the edge over other countries on the world stage that have been hosting and holding their indigenous Carnivals for many years. “We have gone out to the international marketplace and attached ourselves to the three best entertainment companies on the planet, who do mega events,” Dr. Johnson revealed. These companies are:1. The company which owns and operates the New Orleans Jazz

Festival, Louisiana. 2. The company which owns and operates Madison Square Gardens, New York. 3. The company which operates the entire complex where FIFA World Cup was held in Brazil. “So we are not playing with novices here. We are going to tie in with international sponsors in the global marketplace who will drive our product to their constituencies,” he said. “Let me explain the constituencies that these three major companies represent, “Dr. Johnson said. “For example take me as the MP for Carmichael with my Face Book page with 15,000 likes. These international mega event companies each have 15 million persons around the world on line and who they are in direct contact with every single minute of the day. That is the platform we are reaching for. This is the platform which will anchor Bahamas Junkanoo Carnival and all other festivals in

this country,” Dr. Johnson said. “No festival will be left behind. Pineapple Fest will not be left behind. Crab Fest will not be left behind. Heritage Fest will not be left behind. Rake N’ Scrape Fest will not be left behind. No one will be left behind. We have got to do one and we have got to get it right the first time,” Dr. Johnson said. “Then it is a production thing for us. Now you have this platform which is global. The production now has to be at that level, that quality and that staging. And we begin the process of planning of this phenomenon which will be used in all of our festivals,” the Minister said. Dr. Johnson said that while The Bahamas will be “the new kid on the block” when the Festival premieres between May 7th and 9th 2015, intense and deliberate preparations are being made to secure The Bahamas’s reputation as that place where the world will come again in even larger numbers to “see who we are, where we live, how we do things and what makes

us distinctly Bahamian. We will further develop our brand”. Dr. Johnson said every Government agency involved in any aspect of the central planning and preparedness of the event will be around the table. “This phenomenon will require the support and work of the Ministries of the Environment, Works and Planning, Education, Tourism. Every single government agency which operates at the level of assistance and preparation for such events will be around the table,” he said. Dr. Johnson said the entire enterprise of the Bahamas Junkanoo Carnival is run directly out of the Office of the Prime Minister. “The Prime Minister has charged me and the Ministry with the execution of it and to make sure that the planning of it, that it be comprehensive, sound, seamless and integrated,” Dr. Johnson said.

BAAM - The Launch Edition

MAJOR

Business W

hen Paul Major was appointed Chairman of the Bahamas Festival Commission, it was clearly understood that this was going to be major

The man at the helm of the Bahamas Festivals Commission is former banker Paul Major. He leads a dynamic team of Bahamians who are fully committed to the grand success of Bahamas Junkanoo Carnival 2015.

BAAM - The Launch Edition

THE CHAIRMAN BAHAMAS FESTIVAL COMMISSION

Paul Major

cont‘d on next page

BAAM - The Launch Edition

In this article BAAM gives an overview of the work of the Commission from its appointment:Mandate The Bahamas National Festival Commission (BNFC) was formed in October 2013 with a mandate from the Prime Minister of The Bahamas to: 1. Stimulate sustainable economic opportunities for Small and Medium Enterprises (SMEs) in the Creative Sector throughout The Bahamas. 2. Bring to fruition a new Bahamian-style Carnival in May of 2015. 3. Stimulate year round employment in the Creative Sector. 4. Positively and significantly impact GDP. 5. The BNFC has engaged commissioners from various sectors of the community and are working assiduously along with the Bahamas Festival Commission team to ensure that the goals are met. Commissioners Include: • Paul Major, Chairman • Robert Sands, Marketing Chair • Anthony Ferguson, Budget and Finance Chair • Ed Fields, Events and Logistics Co-Chair • Felix Stubs, Events and Logistics Co-Chair • Max Gibson, Preliminaries Chair and CoChair, Sponsorship & Fundraising • Jaime Dingman, Sponsorship & Fundraising • Arlene Nash Ferguson, Chief Administrator Festival Commission Secretariat • I Chester Cooper • Fred Munnings, Jr. • Dr. Barry Russell • Patricia Mortimer • Obie Pindling • Inga Bowleg

• • • • • • •

“

To date, we have provided some form of benefit to over 60 small and medium sized businesses throughout the Bahamas; from Freeport all the way down to Inagua and in between.

Muna Issa Cameron Symonette Antonius Roberts Brandace Duncanson, Office of the Attorney General Nicola Simmons, Office of the Prime Minister Reagan Collie, Ministry of Tourism Shanae Strachan, Ministry of Tourism

Technical Resource Persons: • Percy Francis • Arthur Gibson • Leslie Johnson

The business models and new and existing companies which are being empowered to benefit

from the Festival. The long range goals re the incentive to the Cultural base in the Bahamas to produce works of excellence. Small and medium sized businesses throughout the Bahamas are being empowered to benefit from the Bahamas Carnival. To date, we have provided some form of benefit to over 60 small and medium sized businesses throughout the Bahamas; from Freeport all the way down to Inagua and in between. The Commission hopes to boost the out island economies through the purchase of local materials to be used by Road Fever Companies in the production of their costumes. In addition to existing companies, the Festival hopes to encompass and benefit local artisans who produce Bahamian-made products through the sale of such products during the Festival period.

BAAM - The Launch Edition

The concept of the Festival and the Festival designated area. Stretching from Western Esplanade Beach in the east along the north foreshore, down to Fish Fry in the west, bordered by Infant View Road, Chippingham Road and Marcus Bethel Way. Harbour Front will be the Centre of Activity, populated with food vendors and small stages for non-stop entertainment. It will also be the staging ground for groups participating in Junkanoo Mania and the other concert-style events at the Haynes Oval. Fort Charlotte will be transformed into an iconic stage illuminated in light and colour. Western Esplanade will be the most iconic carnival grand stand, overlooking Nassau

“

Harbour, the beach, Paradise Island Light House and Cruise Ship Port. How the Festival incorporates artist and the indigenous and peculiar culture of each Family Island. Bahamas Carnival will stimulate economic activity by engaging in the following: 1. Training Family Island entrepreneurs to develop a supply chain of indigenous material (sisal, silk sisal, straw, fabric) for use in the festival. (Mandatory 15% of costume) 2. Work with celebrity endorsers to host carnival parties in the Family Islands during the main week of activity. 3. Employ Family Island residents to carry out

Indigenous materials are being sourced locally and from the Family Islands. Samples include: straw, sisal, shells, seeds, Androsia, etc.

functions of Promotional Street Teams. 4. Provide sponsorship money to Family Island events (regattas and homecomings) for cross-promotion of Bahamas Carnival. Indigenous materials are being sourced locally and from the Family Islands. Samples include: straw, sisal, shells, seeds, Androsia, etc. •

•

The de-bunking of the myth that our Festival is a copycat of anything else that currently exists in the world. Bahamas Carnival is different from other regional or international carnivals like Trinidad Carnival because it infuses the carnival business model with longstanding Bahamian traditions of art, music, masquerade and street performance. Unlike other carnivals, which precede this period of restraint and temperance with wild revelry, Bahamas Carnival is a postLenten festival of events underpinned by indigenous Bahamian cultural expressions, including music, art and Junkanoo.

Bahamas Carnival is a high level entertainment experience, which sets the stage for Bahamian recording artists to nurture their sound and express themselves in front of a global audience. An immersive parade on an iconic stage. Although The Bahamas is joining the regional carnival circuit late in the game, it has several strengths that will give it a competitive advantage when launching its inaugural carnival. 1. Well-established destination brand 2. Developed Hotel Plant Infrastructure 3. Broad public/private stakeholder support 4. Captive Market (6 million annual visitors) cont‘d on next page

BAAM - The Launch Edition

5. Accessibility of North American market 6. Power and influence of national destination marketing machinery (MOT/ promotion boards/industry associations) 7.

Uniqueness of Junkanoo art form

(music/costume) 8.

Enthusiasm of entertainers/musicians

The endorsement of the Junkanoo leaders to the Festival concept to stop the misinformation re the Festival’s neutering of Junkanoo. The commissioners of the BNFC made a presentation to the JCNP- Junkanoo Community of New Providence, where Junkanoo leaders and the cultural community shared their interest, and were excited to learn more about how they can participate in this epic venture. The five year economic plan for the festival going forward. The BNFC is also driving an effort to stimulate year-round economic activity in the creativeindustry sector to create opportunities for SMEs and providing creative entrepreneurship incubator services. Upside potential of $400M GDP impact. Building on the plans of various stakeholder groups, such as the Downtown Nassau Partnership, the Historic Charlestown Committee and the Antiquities, Monuments and Museums Corporation, the BNFC will invest in infrastructure development to revitalize downtown heritage sites and to create a new interactive Junkanoo museum.

“

The four main events are being promoted globally, inviting tourists to purchase costumes and participate in the parades.

The revitalized sites will create opportunities

•

Art Exhibitions

for walking and bus tours that will be delivered

•

Mega Music Concert

by sub-contractors, including SMEs looking to

•

Street Parties

grow their share of the tour market.

•

Celebrity Endorsed Events

•

Parade over an Iconic Stage

Historical Sites: Sixty Six Steps, Government House, Fort Fincastle, Water Tower, Fort Charlotte, Cultural Museum, Junkanoo

How is the Festival being sold to lure tourists to

Museum, Collin’s House, National Library,

the country?

Pompey Square, Nassau Straw Market, National

The four main events are being promoted

Art Gallery of the Bahamas.

globally, inviting tourists to purchase costumes and participate in the parades.

The various components which will make up the festival i.e. arts and craft, cuisine, theatre, etc.

The narrative or fine line which makes this

•

a festival that promotes our culture in an

Marching Bands

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uncensored form as opposed to what some

It’s a collection of celebrations, cultural shows

stations in the Bahamas to be played

folks see as the politically correct exposition

and street parades, and it will be participatory.

as a part of their regular rotation. The

of The Bahamas to the tourist market... or a

In most cases Junkanoo is exclusively for

Broadcasting Corporation of The Bahamas

narrative which assures that the Festival will not

Bahamians. People who are a part of groups

will be mandated to play the said songs

compromise its indigenous integrity.

rush. Most people watch the parade. Everyone

on regular rotation. The international

Making the Festival “participatory driven”

has deep rooted loyalties to a Junkanoo group.

radio and television stations which are

rather than “spectator driven” as we see in the

Anyone can participate in carnival. It is

selected to promote The Bahamas Carnival

traditional Boxing Day and New Year’s Day

completely opened to all.

will be required to play the songs on the

parades.

said compilation CD featuring the semifinalists’ songs.

Bahamas Carnival is a festive season of events.

“

Establishing the Festival’s brand through its messaging, its song, drink, cuisine and dance

The Junkanoo groups will be encouraged

contests.

to include the said semi-finalists’ songs in

Once professionally produced the 25 semi-

their repertoire during the Boxing Day and

finalist songs will be provided to ALL radio

New Year’s Junkanoo Parades.

The Broadcasting Corporation of The Bahamas will be mandated to play the said songs on regular rotation.

Promoting the various department heads at the Festival’s Office and their portfolios. Roscoe Dames, CEO Jessica Cartwright, Assistant to the CEO Arlene Nash Ferguson, Administrator Kendyce Ferguson, Accountant Sharell Carroll, Marketing Coordinator Samia Donaldson, Marketing Assistant Sharine Symonette, Events Coordinator Dr. Ann Higgins, Research Coordinator Michelle McPhee, SME Coordinator Wendy Morley, Receptionist

Time lines on major events leading up to the Festival. The official Carnival Season opens from Easter Monday 2015. Bahamas Carnival will be supporting various major Family Island events leading up to the events to be held in Freeport, Grand Bahama. April 17th, 2015.

DEPUTY PRIME MINISTER MEETS WITH CARNIVAL COMMISSION

ecently, Commissioners of the Festival Commission called on Deputy Prime Minister the Hon. Philip ‘Brave‘ Davis at the Office of the Deputy Prime Minister to apprise him of the work now underway. Mr. Davis also serves as Minister of Public Works and this Ministry will be called on to play an integral part of the logistics and planning for the May 2015 festival.

COURTESY CALL - From left to right Ricardo Moncur Special Assistant in the Office of the DPM, Colin Higgs, Permanent Secretary, Paul Major Chairman Festival Commission, DPM Philip ‘Brave‘ Davis, Max Gibson Commissioner and Roscoe Dames CEO Commission Secretariat.

The commissioners spoke to the overall vision and goals of Bahamas Junkanoo Carnival, which include: • The stimulation of sustainable economic opportunities for Small and Medium Enterprises (SMEs) in the Creative Sector throughout The Bahamas. • The stimulation of year-round employment in the Creative Sector. • Bahamas Junkanoo Carnival positively and significantly impacting the GDP of The Bahamas. According to DPM Davis, Bahamas Junkanoo Carnival brings an amazing opportunity for The Bahamas. He noted that with the insertion of the Bahamas Junkanoo Carnival into our festival calendar, the world will be able to not only experience, but also fall in

love with our Bahamian culture. Bahamas Junkanoo Carnival is a collage of our culture. It is a festive weeklong celebration where Bahamians and guests from around the world will be immersed in all things Bahamian. The carnival events will showcase Junkanoo, Rake -n- Scrape, arts and crafts, Bahamian cuisine, visual art, music, dance and more. Bahamas Junkanoo Carnival is a high level entertainment experience, which sets the stage for Bahamian recording artists to nurture their sound and express themselves in front of a global audience. It will also include an immersive parade on an iconic stage.

Did y ou kno w? THE CHOCOLATE DANDIES The Chocolate Dandies was the toast of town as the leading orchestral band of the early 1950s. Amongst the greats in the band was Charles Carey, father of political activist Lionel Carey. George “God Bless” Symonette, (seen on the first tier next to Gladstone Christie) George is the father of the legendary Edmund Moxey, who would go on to create Jumbey Village. Another major star of the Chocolate Dandies was the legendary crooner George Symonette, seen here on the piano, who literally was the 1950’s star of the dinner clubs and night clubs of the day and reigned supreme in calypso and Goombay tunes on the radio. Another luminary was Freddie Williams, the husband of Eva McPherson Williams, the co-founder of the Miss Bahamas Beauty Pageant. The band played at the Royal Victoria Hotel, the Montagu Beach and various events and functions.

Music Masters Celebrates the icons of Bahamian music & culture-

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Junkanoo From Whence It Came . . .

anded down from our African ancestors 200 years ago, the Origin of Junkanoo continues as a vibrant celebration of the Bahamian People

The annual masquerade

credited with gazetting the

Rush Out on Christmas

Regulations which encour-

and Boxing Day in The

aged the Slaves to celebrate

Bahamas today had its ori-

and own these two days.

gin in Slavery in the 19th century; and a Plantation

In 1815 the Royal Gazette

owner William Whylly, is

published what is known as the â&#x20AC;&#x153;Regulations for the

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Government of the Slaves

ons say this:-

In her book , ”Slavery in

which greatly pained my

In his Plantation Diary,

The Bahamas 1648 -1838”

mind; but he made light

Farquharson called

Dr. Gail Saunders refers to

of it and apologized for

“A Relic of Slavery

Dowson’s Journal 1810-

them by saying; “The week

1831-1832”; Farquhar-

1817 in which the Reverend

of Christmas is the only

son wrote that the

W. Dowson, a Methodist

time in the whole year in

slaves used the holiday

Missionary set off on what

which to be merry and I am

period to “visit friends,

was to become known as “A

pleased to see them enjoy

amused themselves and

mission to the West India

themselves. I retired to my

had grand dances and

Islands” ; and recorded his

bed much sorrow of heart”,

festivals which were

Dowson wrote.

kept up yearly.”

observations of Slaves celebrating on the holidays they

at Clifton and Tusculum in New Providence.

“CHRISTMAS DAY and

had been granted.

the day next before and These two slave plantations

after it are holidays; and

“I have never before witne-

in the south western section

half tasks only are to be

ssed such a Christmas Day;

of New Providence were

set the people on Saturday.

the Negroes have been bea-

largely owned by William

At Christmas they are to

ting their tambourines and

Whylly, a former Attorney

be at liberty, to go where

dancing the whole day and

General and a Slave Owner;

they please, and they are

now between eight and nine

who from the record

to receive permission to

o’ clock they are pursuing

appeared to have a peaceful

go to town on Saturdays,

their sport as hotly as ever.

relationship with the Slaves

provided they have poultry,

How my heart was pained

he owned.

vegetables or other articles

to see the Redeemer’s birth-

The Regulations in the

to carry to Market- But

day so commemorated.

Royal Gazette spell out this

they are never to leave the

important fact:-

Plantation in rainy weather,

“This day I was also int-

or when their provision

roduced to the Reverend

grounds are out of order.”

Tho Dalziel, a Presbyterian

“The following regulations were years since made,

Farquharson notes

clergyman (most of the

Dr. Saunders also reviewed

that on December 27;

for the government of the

This Regulation is consi-

settlers are Presbyterians

how the Slaves on the

“everything was still to-

slaves employed upon my

dered to be the established

from Bermuda), an old

Farquharson Plantation at

day. The people mostly

Farms in this Island ; and

record of how Slaves

man, I suppose about 70 ye-

San Salvador in the Baha-

sleeping being much

having been found useful

passed on their jubilati-

ars old, lately married to a

mas celebrated the holiday

fatigued in dancing last

, it is my desire they be

on and celebrations on

young woman of about 22.

period; once again showing

night had a pretty good

henceforth considered as

these prescribed days which

I thought he was in liquor.

its linkages to today’s Jun-

hour yesterday PM”.

permanently established”.

JUNKANOO as we know it

I mentioned the dissipation

kanoo.

In Section V1 the Regulati-

has emerged.

of the Negroes as a thing

LAYING LOW

IN BIMINI

‚

AIN T NOTHING NEW Bimini laying just a stone’s throw off the Key West Florida has long been the

favourite haunt of the raconteur, adventurer, artist, politician and religious leader. Ponce De Leon arrived in the mid 16th century in search of the fabled Fountain of Youth.

Elijah Muhammad, head of the Nation and Islam found solace here when Malcolm X died and Mohammad’s widow still visits every year.

Adam Clayton Powell, the New York Congressman found escape here while facing rebuke in his country.

Ernest Hemingway, relaxed here in between his trips of Havana.

Dr. Martin Luther King, Jr. came here to relax and write his acceptance speech of the Nobel Peace Prize, 50 years ago this December.

Louis Farrakhan, the current head of the Nation and Islam and organizer of the 1 Million Man March was here last March as a regular part of his relaxation and to meet old friends. US Senator Gary Hart on his yacht “The Monkey Business” stole into Bimini harbor with the model Donna Rice in the glare of the US presidential primary race where he was a Democratic front runner. A not so good end to a political career that seemed to be on a charm.

Did y ou kno w? RAKE AND SCRAPE No one is certain where the term ‘Rake and Scrape’ emanated from but Charles Carter, the iconic voice and historian behind the “The Young Bahamian Radio Show” began referring to the music of the Family Islands, which uses authentic apparatus and instruments to make melodious music as such in the early 1970s. However Carter says the term had been around long before he borrowed it. Bahamians beating the Goombay Drum a scrapping on a carpenter’s Saw and exploring new moods on the Concertina and harmonica and other homemade devices comprise the instruments of Rake N’ Scrape. Much of the percussion sound which is still popular in the Family Islands can be drawn from our African past where Slaves uses similar instruments to duplicate the sound of the native instruments they enjoyed on the West Coast of Africa. Similarly as Bahamians went on “The Contract” in the Southern United States as indentured fruit pickers at the end of World War 1, and returned home new indigenous instruments were added to Rake N’ Scrape. The Quadrille or Heel and Toe dances are popular at Rake N’ Scrape events and virtuoso’s like Lazziedo and Boys refined it into a fine art form. Cat Island remains the celebrated cradle of Rake N’ Scrape but just about every Family Island has their own performers and bands and Rake N’ Scrape dance hall.

BAHAMIAN CUISINE

FLAVOURS OF THE SEA Mince Lobster, Conch Soup, Stuffed Snapper

Special thanks to the management and staff of Nassau Stadium, Fowler Street and ‘Drifters’ at Fish Fry, Arawak Cay.

BAAM - The Launch Edition

ith the waters of the Bahama Islands teeming with an abundance of seafood there is no reason to wonder why Bahamian cuisine is made up of a myriad of tantalising delicacies, many of them emanating from the sea.

Each spoonful of conch salad, mouthful of boiled fish and stewed conch, slice of ‘Johnny’ cake, plate of crab or peas n’ rice, fried fish with coleslaw and glass of cold ‘Switcher’ or concoction of Bahama Mama, all provide a taste of Bahamian culture. Food plays a pivotal role in the cultural

traditions of the Bahama Islands.

What makes food a special part of

conch is requested by visitors,

Many of the native dishes are an

Bahamian culture that is appeal-

conch salad and conch fritters are

infusion of the influences of the

ing to both the palate and the

highly recommended. The latest

Africans, the Caribbean, the Ar-

eye and keeps visitors asking for

‘hot’ seller for locals, however, is

awak Indians, the French, Europe-

more? “It’s really preparation …

‘tropical salad’, a modified version

an, and Dutch settlers. Combined

how it’s prepared and seasoned,”

of the traditional conch salad

with the bountiful harvest of this

said Charlie Major, Jr., of the

which incorporates apples and lo-

tropical paradise, the diverse roots

popular Nassau Stadium, home

cally grown fruit including man-

have developed into unique tech-

of celebrities, visitors and locals.

goes and pineapples. Some restau-

niques, seasonings and flavours

It’s the “flavour” he said. “There’s

rants, like Drifters, have tweaked

indigenous to The Bahamas.

nothing like seasoning food with

the traditional dishes adding new

goat pepper and lime juice,” to

techniques such as conch balls,

Holidays like Christmas and

give that down home, island style

similar to conch fritters, conch

Boxing Day, especially after Junk-

taste. In addition to seafood dish-

bits, a bite-size version of cracked

anoo, are celebrated with stewed

es, a bowl of hot soup is another

conch and snapper stuffed with

conch, souse (chicken, pig feet,

way to get a taste of Bahamian

conch and shrimp, grouper chow-

sheep tongue) and fish (stewed

culture. An assortment of soup

der and so much more.

or boiled). Conch prepared as

is served up at Charlie’s place

chowder, a salad, cracked or fried

including delicious crab soup,

Food is definitely one of the

in a batter as fritters and smoth-

okra soup and peas soup n’ dough.

delights that are sure to give you

ered in sauce are usually enjoyed

Fresh, steamed mutton, crab n’

a taste of Bahamian culinary

during a Saturday afternoon drive,

grits, boiled crab n’ dough and

culture. No matter the event,

a relaxing, social time or as a treat

minced crawfish are among other

homecoming, regattas, lunch-

looked forward to on return from

local favourites. Raquel Davis of

time brunch at a local restaurant,

a stay abroad.

‘Drifters’ at Da Fish Fry, Arawak

or just a home-cooked meal,

Cay, agreed. “It’s the way we pre-

the dishes that grace Bahamian

Taxi drivers, tour guides and

pare it. They (foreigners) can go

menus will certainly provide the

waitresses are almost sure to

anywhere in the world and get fish

down-home, distinct Bahamian

recommend Bahamian beverage

and peas n’rice, but it’s what we

flavour.

delights like fresh coconut wa-

put in it and how we serve it.” A

ter, freshly squeezed ‘switcher’

real sea treasure, Davis

(made from citrus and known as

said when

limeade), Goombay Punch soda, rum punch, daiquiri with a twist of mango or other seasonal fruit grown locally. Guava duff, coconut and pineapple tart, peanut and benny cake, sour sop, coconut and mango ice cream satisfy the sweet tooth for dessert.

Did y ou kno w? GLADSTONE ADDERLEY Here is one of The Bahamas’s most accomplished singers. His high baritone/tenor vibrates with Wagnerian vocal excellence. He has performed with Divas and legends like Joan Sutherland and Luciano Pavarotti. For several seasons he appeared with “The Greater Miami Opera” and “Chicago Lyric Opera” and was proudly applauded for the robust quality of his instrument. To date his career spans many years in opera houses, theatres and nightclubs and churches. A child prodigy at the age of five, this third son of a Baptist Minister launched a vibrant singing ministry which resulted ten years later in his American debut. Discovered by the gospel soloist Dr. Grace Cobbs of Detroit Michigan, Gladstone’s dramatic talent captured the attention of music professor Robert Henry who encouraged him to pursue formal voice studies at Southern University, Prairie View University and Indiana University respectively. Although an operatic Heldentenor, he diversified his singing style to incorporate Pop, Calypso, Broadway/Secular and Gospel music. “GB”. A satirical musical revue afforded Gladstone a seven months stint in London’s West End circuit where HRH Queen Elizabeth 11 personally invited him to the premiere performance at the Westminster Theatre. To his credit also is the “Lou Rawls Parade of Stars” telethon for the United Negro College Fund, numerous radio and television appearances and countless local and international engagements. Apart from stage performances he has also conducted several choirs, and coaches privately several choirs and ensembles.

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At Clifton four distinct cultures meetIT’S THE EMBLEM OF THE BAHAMIAN STORY OF STRUGGLE, SURVIVAL, INDEPENDENCE AND OWNERSHIP How Perry Christie’s stand SAVED CLIFTON

he Clifton National Heritage Park, situate on the south western coast of Nassau and spanning 280 acres was created by special legislation in Parliament in 2004 and preserved for perpetuity for the Bahamian people. The national park which contains the most intact ruins and artifacts of over 500 years of Bahamian history was narrowly saved from the earth movers and tractors of a major California development company which had been given permission by the then Government to desecrate the archaeology at Clifton and transform the property into a gated luxury residential community for non Bahamians.

Environment Minister Kendred Dorsett, former Attorney General Sean McWeeny and The Rt. Hon. Perry Christie

Bahamas Prime Minister Perry Christie drew a line in the sand in 2000, while serving as Leader of the Opposition challenging the then Government’s decision to allow the Chaffin Light-Bechtel Corporation’s development. Renowned international archaeologists, anthropologists, historians and environmentalists

vigorously opposed development. A plethora of civil actions were started in the Supreme Court to halt the development and acrimonious debate charged the Parliamentary discussion on the topic as the incumbent Government refused to budge from their decision. cont‘d on next page

BAAM - The Launch Edition

Prior to this the property which formed the perimeter of what Bahamians called “Jaws Beach”, after the movie Jaws 1V SFX was shot on location there, went largely unnoticed. The Sir Lynden Pindling Progressive Liberal Party Government had by law gotten what is known as a public acquisition of the property from its true owners for usage as a proposed Container Port and Shipping terminal. Perry G. Christie in 2001 then as Leader of the Opposition went to the Clifton property for a major news conference where he warned then approved foreign developers - the Bechtel Corporation in California - that should his Progressive Liberal Party form the Government after general elections in 2002 he would cancel and rescind any building permits to allow the historic property at Clifton to be turned into a gated luxury community for wealthy foreigners seeking second homes. Mr. Christie did form the Government and within two years legislation was passed in the Parliament to create the Clifton National Heritage Authority and National Park where the 200 plus acres now rest for perpetuity.

The archaeologists that the Government retained to do an independent Environmental Impact Study on the proposed development determined that the Clifton may be the only property in the country with valuable artifacts and ruins which date to the Lucayan Indians, Columbus’s landfall, the American Loyalists, the African Slave trade and Plantation life. Imagine Yellow Stone Park becoming a landfill for corrugated metal and chemical waste. Imagine Stone Hinge having all of its formations leveled to the ground to make way for a luxury posh tourist resort. Imagine the Giza, the Sphinx and the Pyramids being blown up to accommodate a privileged gated residential suburb. Such horrendous destruction was barely averted in the Bahamas after Mr. Christie, just two years out

from a general election warned the then Government that should his party win the ensuing general elections all permits and licenses given to the Bechtel Corporation of Canada to develop the property known as Clifton or the Whylly Plantation would be withdrawn, the project would be stopped and the land returned to the Bahamian people as a national park. The 280 plus acre tract of land known now as the Clifton National Heritage Park and situate in the south west corridor of Nassau was swooped up by the California developers the Bechtel Corporation around 1998 and an ambitious proposal was presented to the Government in office for the transformation to the vast beach and ocean frontage into a prototype housing community for the fabulously wealthy.

However the Pindling Government left office in 1992 never having completed paying the adjudicated purchase price of the property which was acquired from the estate of the late Sir Harry Oakes, once reputed to be the richest man in the British Commonwealth and whose murder in Nassau in 1927 still remains unsolved.

able to stir up various Bahamian actions groups opposed to the project on the preliminary basis that the legendary Jaws Beach would be estranged from the Bahamian people. When the now infamous EPIA report commissioned by the Ingraham Government disclosed the hegemony of the nation and the historic connection to the property the struggle to “Save Clifton” took on an aggressive dimension. The Ingraham Government was insolent and determined in declar-

When the Hubert A. Ingraham Perry al Christie and American Environmentalist Free NationRobert Kennedy Jr, who lent his voice, his Movement Government organization and support to the Save Clifton fight. came to office in August 1992 the Container Port Plan was ing that their decision would not scrapped so when Chaffin Light – Bechtel Corporation scouted it out be overturned and even Chaffin Light- Bechtel Corporation began for one of their prototype luxury to give new public assurances communities, most Bahamians that while they wished to continue still feigned disinterest. with their development they would proceed with an abundance of It would appear that special intercaution and not demolish the ests groups led and controlled by ruins on the property. wealthy foreigners in Lyford Cay, the Bahamas’s best known luxury gated community were opposed to This was roundly rejected by the Save Clifton lobby. what Chaffin-Bechtel Light had on Enter Robert Kennedy Junior, and the drawing board. This lobby was

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Mr. Christie made his declaration in March 2000 on the beach at Clifton that upon becoming Prime Minister in the ensuing general election his Government would derail any such development at Clifton and by law turn the property into a national park. Nassau was ablaze in protest over the development plans. Street demonstrations, protests, angry call-ins to Talk Radio shows, prolific protest letters to newspaper editors and strong threats from activists who vowed they would put their bodies between the tractors and Clifton.

true owners and could not revert by returning what the Land Acquisition Act held they owned. 1n May 2002 Mr. Christie’s PLP romped to a landslide victory at the polls and in 2004 the Christie Government made good its promise to create the national park. Today Clifton has become the modern wonder of the country’s history and journey and Bahamians look to it as a thing of pride.

But it was not until Mr. Christie galvanized the nation and the protest by adjourning his political party and prospective Government’s plans to the issue did the California Company relent and abandon the project. But the incumbent FNM Government announced that it was vacating ownership of the land and the acquisition done by the Pindling Government in 1985.

his Water Keepers Alliance, one of the world’s most influential and well connected Environmental Activists organizations and son of the slain US Attorney General ( brother of the martyred US President John F. Kennedy) who joined the lobby to Save Clifton and concurred with the archaeologists reports invoking the national treasure the property is. Kennedy was reportedly joined by the American Billionaire Hedge Fund czar Louis Bacon who was awarded the Audubon Medal for his behind the scenes work, collaboration and efforts to get the Chaffin Light-Bechtel Corporation and its development plans for the property tossed.

The FNM Government announced it was reneging on the land acquisition and would return the property to the Oakes Estate as its true owners to do with what they wished. Since the Pindling Government had not paid the Oakes Estate the agreed true value, some legal scholars opined that that the fee simple never passed to the Government. In other words the Oakes Estate as owners could now sell directly to the Chaffin Light-Bechtel Corporation and take the Ingraham Government out of the political stew. The court said as the property had been acquired for public use the Government was duty bound to pay the agreed appraised value for the property as they were effectively the

FLASHBACK- Attorney Keod Smith, the vocal and tireless leader of the Save Clifton fight takes to the street in a giant motorcade in 1999 to drum up support to stop the Clifton property from being mowed down by developers and turned into a luxury second home gated community.

Renowned religious leaders Louis Farrakhan, head of the Black Muslims and the organizer of the One Million Man March on Washington the American capitol have visited and declared Clifton “Holy ground”. International celebrities, world leaders and other religious personalities have also included Clifton on their ‘Must visit” list while in the Bahamas.

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CleophasR.E. Adderley Cleophas Adderley was born in Nassau, Bahamas. He received his elementary education at Western Junior School and secondary education at the Government High School. He went on to study at the University of the West Indies where he received his L.L.B (Hons). He was called to the Bahamas Bar in 1980. Adderley also studied orchestration. He tutored as a private student of Nancy Patterson-Strelau at the University of Miami, Florida, and studied orchestral conducting as a private student of Harold Glickman of New City. Mr. Adderley is a pillar in the cultural development of The Bahamas. After some 14 years working the field of law, first in the private practice and

I AM A BAHAMIAN

then as the legal advisor at the offices of the Attorney General, he became the Founder/Director of the Bahamas National Youth Choir. The Bahamas National Choir has become one of the foremost Bahamian cultural organizations representing The Bahamas and entertaining audiences nationally and internationally. Diocesan Chorale director Andrew Curry describes the choir as exemplifying “all that is good, vibrant and brilliant in music in The Bahamas – or anywhere else for that matter.” Mr. Adderley also serves as the Director of the Senior Choir of the Parish Church of the Most Holy. Trinity, Founder and Director of the National Choir of The Bahamas, former Director of Culture and the

Executive Director of National Musical Heritage and Research.

of the National Cultural Heritage Commission.

Mr. Adderley is also an accomplished composer. He is the composer of the first Bahamian grand opera “Our Boys,” which is also the first opera to have been written and performed in the English-speaking Caribbean. He is also the composer of the first Bahamian Concert Mass, “Missa Caribe”.

Mr. Adderley is the recipient of many awards, including the Distinguished Citizen Award, the Charles H. Fisher Award, the Men of Distinction Award, Bahamas Government Silver Jubilee Award, the Bahamas Association of Artistic Performers Lifetime Achievement Award and the Certificate of Recognition for outstanding work in the arts from the Gabriel Mistral International Awards of the Organization of American States.

Mr. Adderley has also produced numerous commercial compact discs of choral music. Additionally, he produced and conceived the cultural show for the Opening Ceremonies of the 1995 and 1998 Bahamas Games. He is a founding Board Member of the National Art Gallery, a founding Member of the Antiquities, Monuments and Museums Board, a member

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A REAL BAHAMIAN THING!

‘Sperrit, Ghosts and the haunted house, BAAM - The Launch Edition

...only then Bahamians scare

or almost two weeks in May 1979 the entire country was transfixed over a small grey masonry house on Collins Avenue where a ghost had taken up residence and terrorized its occupants-Cedric and Sarah Jane Campbell, two elderly retirees and their 30 year autistic son. Thousands of Bahamians over two weeks gathered outside the house “to see the ghost”, as the police and fire department set up barricades, eventually having to use water hoses to get the crowds off the streets. A Witch doctor from Zambia, and another from the Seychelles Island along with a number of Christian clergymen arrived at the house to determine the nature of the ghost and to pray the evil away. The story unfolded that a close friend of the Campbell’s who lived further down the street had died about a week earlier and there may have been some “dabbling in black magic” which got out of hand the

night the neighbor was buried in the Old Trail Cemetery. Rocks reportedly pounded the house, an earth quake like shake settled on the small property breaking all of the dishes and china in the weather beaten kitchen cabinet, pottery and figurines were smashed and there were reports that the ghost rode on the back of dogs, and beat them with a whip as they howled and raced around the yard. The son was bruised on his legs and back from invisible whippings and the elderly Mr. Campbell, remained stoic as if he knew more about what

was transpiring than he was prepared to admit. Many prayers later, sprinkling of Holy Water and a few other talisman and rituals the ghost just went away. The Bahamas is a place for ghost or as we say in the local language, “sperrit does walk.” In Family Islands like Andros and Cat Island and Exuma ghosts’ stories are an ancient part of the folklore. There is the headless ghost from Orange Creek who would greet

SARAH JANE CAMPBELL couldn’t see well to read, but said during that time brought her “nearer to her Bible.”

people walking home from their farms in the late evening with a polite bow and remove his hat to reveal he had no face. There is the taxi ghost of Nassau who would flag cabs down and ask to be taken to an area near a cemetery, politely ask to get out but when the driver looked over his shoulder to collect his fare the back seat is empty… the ghost has gone home.

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Graveyards not only hold history in this country but they carry a significant part of the mystical poetry of the culture. It is not uncommon for an adversary to threaten to write a foe’s name down on brown paper, tie it up with black thread and throw it in the grave yard. And if you are serious about changing your fortune for the better you can enter a grave yard, completely naked, and walk backwards to the tomb or plot of someone you know, and as you walk you call out the person’s name and ask them to grant your wish. There are actual Police Reports where people have been arrested for this practice in the grave yard.

There is also a predilection amongst many for a dead person to come to a Bahamian in a dream and bring a lucky number to play in the daily lotteries. Pat Rahming, architect and folk song icon coined the phrase, “you aint serious if you only got one dream book”. It is not unusual to find the Bible on top of the dresser in a Bahamian home and an assortment of dream books- King Tut,

Alphonso L. R. Smith JP sits in front of a Bay Street store where he sells and autographs his book on Ghosts and the mystical Chicharney on the island of Andros.

Three Wiseman, and Aunt Sally - to be stashed in the pull out drawer. Then there are the potions and ointments and candles and crosses and talisman, all of which are said to work more effectively with a sprinkling of grave yard dirt. If you really want a powerful potion or substance nothing in the Bahamas has the compelling power of grave yard dirt, according to the stories. Here in this country Bride of Chucky, Jeepers Creepers, Frankenstein, Night of the Living Dead – are more likely to fetch a good laugh in the theatre than cause a sleepless night. Try to get a Bahamian to take a short cut through a grave yard at night or let the word spread that the taxi

ghost has returned and has been turning up in the back seat of person’s cars, and you will see how easily Bahamians scare. Show a Bahamian “a bottle” hanging in a tree and no matter how sweet and succulent the mango, avocado or guava they will not eat it unless it is given to them by the owner of the orchard. Such bottles are said to be packed with graveyard dirt and scrolls which when disturbed will wake a ghost to haunt a trespasser or thief. Many rake and scrape songs have been written about the “Bug-gamon” another word for ghost. “I saw one bug-ga-mon the other night,” sang The Ancient Man, one of the country’s new emerging balladeers. The Haitian culture has strengthened

the tale about the Zombie. It goes like this. For a big handsome fee, the Haitian Voodoo priest can cast a spell on your enemy and turn him or her into a “living dead zombie” where they will be doomed to tote coffee beans on the mountains of Port Au Prince for eternity. Just about everyone in Crooked Island and Acklins has seen a “Bug-ga-mon”.

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PROUD TO BE BAHAMIAN

Did y ou kno w? PUZZLE MAN BAAM - The Launch Edition

Preston Wallace, Jr. is better

Entertainment Bahamas. Puzzle’s

In addition to his local

Puzzle performed for Sir Sidney

known as “Puzzle Man” or

most recent collaborations have

accomplishments, his music was

Poitier and Oprah Winfrey for

“Puzzle”. He is an energetic

included various recording and

also selected and featured as

the celebration of the opening

performer whose songs are

remixing at the Hit Factory Criteria

the theme song for the US radio

of the Sir Sidney Bridge in

continuously on the air in The

in Miami, working with music

personality Mr. Michael Basden

Nassau, Bahamas, in November

Bahamas. Puzzle has been

engineer and Lenny Kravitz’s “go

from his movie “What Do Women

2012, and, in June 2013, Puzzle

involved in music from the age

to man”, Matt Knobel, for his hit

Want” in 2011 and his Barefoot

performed before Jay Z, Rick Foxx

of five, when he was singing and

single “Animal” and Miami-based

Bandit song was selected as the

and many others in Club 40/40 in

playing musical instruments in

producer Sugar Dip on “Hispanic

theme song for the Canadian

New York City, representing The

church.

Girls”.

Documentary about the Barefoot

Bahamas in celebrating its 40

Bandit in 2013.

Years of Independence.

With hits like “Barefoot Bandit”,

Puzzle represented the Bahamas

“Jobless” and “My Birthday”,

in Guyana at the Caribbean

Puzzle not only produces and

Festival of the Arts (Carifesta) and

writes his own music; but does

was the first Bahamian Artist to

the same for several other

have his own “Day in the Life” TV

singers and is the CEO of his

Show called “A Day in the Life of

own recording label, Puzzle

Puzzle”.

Did y ou kno w? PAT PAUL

Pat Paul defined the modern look for the Bahamian male in the mid-1970s. Starting from his days as a Model and a salesman in Bonneville Bones to when he opened his own signature Men’s store Pat dressed to impress and led the fashion scene.

Before Pat Paul Modern Men Boutique opened, Bahamian men were sandwiched between European men’s wear at certain Bay Street locations or the local tailor was frequented to make a suit for a wedding, a funeral or any special event and little attention or style or craft was put into that exercise. With the advent of Pat Paul, Men became more fashion conscious not just about their dress, but their health, their diet, their body, their hair, nails and cosmetology. The Pat Paul fashion magic also lifted the standard of local tailors who now had to step up to the plate and study at home and abroad to stitch for a more knowledgeable consumer.

TanyaSears-Sastre One of Nassau’s premiere Bahamian Dance instructors

I AM A BAHAMIAN

Did y ou kno w? JOSEPH SPENCE

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oseph Spence is a Bahamian irony. Hardly appreciated or known in The Bahamas while he was alive, his music is credited with influencing mega international stars who continue to pay homage and respect to his guitar wizardry and his authentic voice.

interior voices and a driving beat that he employed with foot tapping. To this mix he added the Blues, colouration, calypso rhythms to achieve a unique and easily identifiable sound”.

Spence’s vocalizations, humming improvised over his Calypso, Blues, Folk Music and Sacred Song have been consistent subjects of major articles in international magazines like Rolling Stone, Esquire and New York Times.

Spence’s mastery of the guitar and his unique way of playing brought international music scholars to his door, who thought his work was that of two players. Even today he is still featured in international magazines and regarded as guitar wizard, an instrument he taught himself how to play.

He played a steel string acoustic guitar in what is known as Drop D tuning. Reviewers write that “the power of his playing derived from moving Bass lines and

He hailed from Andros and was the son of a pastor, and got his start in music as a teenager playing in his great uncle Tony Spence’s band. After leaving school he worked

Iconic groups like Tahj Mahal, The Grateful Dead kneel at the altar of Joseph Spence’s guitar and he is likened to the “folk guitarist Thelonius Monk.

as a sponge fisher, stonemason and carpenter and as a crop cutter in the United States. The earliest recordings of Joseph Spence were made on Spence’s porch by folk musicologist Samuel Charters in 1958, with Charters initially thinking that Spence’s guitar playing was the work of two players dueling. These were released by Folkways Records on the album Music of the Bahamas Volume One in 1959. In 1964, Fritz Richmond recorded Spence, and recordings made in Spence’s living room were issued on the album Happy All the Time. The following year, Jody Stretcher and Peter Siegel made the trip to record Spence, recording tracks also featuring Edith

and Raymond Pinder and their daughter Geneva, which were released on The Real Bahamas Volume One. These tracks included Spence’s arrangement of “I Bid You Good Night” which was covered by The Grateful Dead and Ralph McTell among others. From the age of 16, Spence was a sponge fisherman. During the Second World War he and his wife, Louise, worked as migrant farmers on “the contract”, where he was influenced by a variety American Folk traditions. Back in Nassau he worked in construction by day and performed at hotels and on yachts at night. Following a heart attack in the mid-1970s Spence settled into a sedate life as a school night watchman, although he made a few more recordings for the roots-oriented Arhoolie label. His gruff voice acted as an accompaniment to his spectacular guitar picking, and he was sometimes joined by his wife Louise. He died in relative obscurity in Nassau on March 18, 1984.

he Extra Mural

sity Players performed works from

Department of the

the Caribbean, and up and coming

University of the

Bahamian writers. Apart from Susan

West Indies had

Wallace, there were writers like, Sam

conducted an acting

Bootle, P. Anthony White, Jeanne

workshop and once the workshop was

Thompson, Telcine Turner Rolle,

over, the participants wanted to stay

James Catalyn and Winston Saun-

together as a group and called them-

ders.

selves, The University Players. During this time, Cookie was inCookie was not a part of the work-

troduced to a woman by the name

shop however, but got involved in the

of Meta Davis Cumberbatch, who

University Players at the invitation of a

originated and ran the Festival of Arts

friend, Charles LaRoda.

and Crafts Bahamas Limited. This woman made her to understand the

She joined the group without any

true meaning of an artist. Discipline

intention of going on stage. It just

was her watch word. Cookie served

seemed to be a way to get out of the

as the secretary of the Festival of Arts

house at least once a week, away from

and Crafts for about seven years.

the strict ship which her parents ran. In 1971, Cookie attended a Theater Her first play was “The Chance”

Arts Workshop in Kingston, Jamaica,

by Susan Wallace. On stage, she

at UWI and had the opportunity to

discovered her passion. It was one of

work with the Caribbean artists such

the most exhilarating moments of her

as the late Dennis Scott, Rex Nettle-

life. Once that first play was over, she

ford and Trevor Rhone.

was “junsin” for the next audition to try

ClaudetteAllens

‘Cookie’ is a 40-year veteran of the performing arts community here in The Bahamas. Her stage career began in 1970 when she became a member of the University Players.

out again.

by the Dundas, and directed by two The University Players developed into

American based artists, Mike Malone

a group that was considered radical

and H.Q. Thompson, the very first

by other dramatic groups, as they

television show Guard Our Heritage

performed works that the other more

was produced. Cookie, naturally was

Anglophile groups would frown upon

a part of it, making her a veteran not

– not just American plays, but plays

only of the stage but also of ZNS TV-

of the 70’s “Black Power” movement:

13. It was an exiting time.

works of Ed Bullins, Sonia Sanchez and the like. In addition, The Univer-

I AM A BAHAMIAN

In 1977, out of a workshop produced

Cookie fondly remembers her very

first television commercial. It was

Repertory Season was founded in

travel with them as a chaperone.

In November 2001, Cookie was fea-

done for Central Furniture Store,

1980 by Winston Saunders and

It was also in 1991 that she had the

tured in the first locally produced Ba-

which was then located on Bay

Philip Burrows. Now, if we haven’t

honor of representing her country

hamian movie ever to play commer-

Street. She remembers standing in

blown Cookie’s horn enough already,

at the Edinburgh Fringe Festival,

cially in Bahamian cinemas (Nassau,

front of the store and saying lines to

it’s time to do so now. This was

Scotland, where she performed in

Freeport and Abaco) – Plantation

the effect, “when you’re in the kitchen

where the sheep were separated from

“You can lead a Horse to Water” by

Picture’s version of Nicolette Beth-

as often as I am you have got to have

the goats. If you wanted to see real

Winston Saunders and “Music of The

el’s “Powercut”, adapted by Manny

the best in kitchen appliances from

theater, this was the place to see it.

Bahamas” an adaptation from the late

Knowles. She is also a founding

Central Furniture Store”

This season was to continue for Eigh-

E. Clement Bethel’s thesis done by

member of Ringplay, the theater pro-

teen (18) more years, during which

Nicolette Bethel and Philip Burrows.

duction company behind “Macbeth”

In 1979 she became the secretary of

time Cookie performed in numerous

The Board of Directors of The Dun-

works, “Dis We Tings”, “I Nehemiah

In 1991, she was the recipient of the

das Center for The Performing Arts, a

, Remember When I, II, and III”, The

first “DANSA Award” in the category,

In January of 2004 a new phase of

position she held for nearly 25 years.

Mysterious Mr. Maphusa”, “Amen

Best Actress in a Supporting Role for

her life began. She along with Pa-

Not only did she witness the change

Corner”, “The Rhimers of Eldritch”,

Mother Henry, a 90 year old woman

tricia Thomas and Val Maura began

in the ownership of the Dundas, but

“Powercut” “Agnes of God”, and, of

in James Baldwin’s “Blues for Mister

a morning show on ZNS 1540 Radio

she was also actively involved in the

course, her signature performance,

Charlie”.

called “Sister Sarah’s Kitchen”. This

building’s being converted into the

the Mother in “You Can Lead A Horse

theater it is today.

to Water”

and “Music of The Bahamas”.

show features a variety of segments In addition to her stage performanc-

which includes, story telling, recipes,

es, you may have seen her in local

Bahamian profiles, etc. Its aim is to

In the early 1980’s a new group was

In 1990 Cookie was employed as a

television commercials and heard her

entertain, educate and inform: this

formed, James Catalyn and Friends.

Cultural Specialist at the Quincenten-

voice on many a radio advertisement,

has turned out to be a very popular

Cookie was an active member of this

nial Commission. This organization

in particular the “Superwash” com-

aspect of radio, particularly to those

group until 1989. The group is know

was responsible for the execution of

mercials. When it became fashion-

persons in the family islands.

for its comical review of all things

the events commemorating the first

able to perform radio commercials in

timely and topical, from religion to

landfall of Columbus. It was during

dialect, naturally she was one of the

In November of 2008 yet another

politics.

this time that she was introduced to

first to have a radio commercial done.

phase of her life began. She was

Cleophas Adderley and The Bahamas

Today, this has not stopped.

asked by the Ministry of Tourism to

In 1981 she was a part of a group

National Youth Choir. This relation-

sent to represent The Bahamas at

ship continues today. Her travels

More recently, she has taken on the

entailed her meeting and greeting vis-

Caribbean Festival of Arts, in Barba-

with this young group of talented

role of a Story Teller, and may be

itors at the Lynden Pindling Interna-

dos. She took major roles in James

ambassadors have taken her as far

seen at many a local event on week-

tional Airport for approximately three

Baldwin’s “The Amen Corner” and

as Russia and South Africa and as

ends keeping our “oral tradition” of

hours on selected days.

‘Them” by Winston Saunders. Both

close as Eleuthera, The Bahamas.

story telling alive. Inspired by the late

plays were very well received.

She has the greatest respect and

Dr. Cleveland Eneas and the way he

She is one of the cornerstones of

admiration for Mr. Adderley and the

told his Ber Bookie and Ber Rabbie

Bahamian Theater.

Growing out of the preparation of

work that he has done with this choir,

stories, she aims to be as good a

the CARIFESTA plays, the Dundas

and she considers herself honored to

story teller as he was.

become a Tourism Ambassador. This

I AM A BAHAMIAN

BAAM - The Launch Edition

There are many days that I have 50 things to do and not enough time to do it. Seems like when you get started on something you always run out of time to get to it.

Straw Vendor

Did y ou kno w? The Royal Bahamas Police Force Band BAAM - The Launch Edition

Begun in 1893 the Royal Bahamas Police Force Band has become the State Band and for many years was a pioneering cultural ambassador the this country beginning with the bandâ&#x20AC;&#x2122;s first international trip to Las Vegas in the 1964. Since then the Band has appeared on international television and is called upon to perform at every State Occasion. The Band owes its strength to the faith of a Commissioners of Police who believed in the power of the Band to transform the Force and provide the colour and pageantry of State.

Music Masters Celebrates the icons of Bahamian music & culture-

Did y ou kno w? Sir Sidney Poitier Sir Sidney Poitier, KBE born February 20, 1927, is a BahamianAmerican actor, film director, author and diplomat. In 1964,Poitier became the first black person to win an Academy Award for Best Actor,for his role in Lilies of the Field. The significance of this achievement was later bolstered in 1967 when he starred in three successful films, all of which dealt with issues involving race: To Sir, with Love; In the Heat of the Night; and Guess Who’s Coming to Dinner, making him the top box-office star of that year. In 1999, the American Film Institute named Poitier among the Greatest Male Stars of All Time, ranking 22nd on the list of 25. Poitier has directed a number of popular movies, such as A Piece of the Action, Uptown Saturday Night, Let’s Do It Again, (with friend Bill Cosby), Stir Crazy (starring Richard Pryor and Gene Wilder) and Ghost Dad (also with Cosby). In 2002, thirty-eight years after receiving the Best Actor Award, Poitier was chosen by the Academy of Motion Picture Arts and Sciences to receive an Honorary Award, designated “To Sidney Poitier in recognition of his remarkable accomplishments as an artist and as a human being.” Since 1997, he has been the Bahamian ambassador to Japan. On August 12, 2009, Sidney Poitier was awarded the Presidential Medal of Freedom, the United States of America’s highest civilian honor, by President Barack Obama.

BAAM - The Launch Edition

ACTION: 1. Something done so as to accomplish a purpose. 2. A way of motion or functioning.

3. THE LIMBO KING

hitfield Morley, a fisherman was heartbroken over a failed relationship so he took to frequenting the night clubs and local dance halls as his getaway zone and repair therapy.

BAAM - The Launch Edition

ACTION:

THE LIMBO KING

BAAM - The Launch Edition

ACTION: 1. Something done so as to accomplish a purpose. 2. A way of motion or functioning.

3. THE LIMBO KING Friends marveled at his dance

the Fun Club or Holiday Inn on

moves and how low he could get

Paradise Island and now appears

on the floor. “Why don’t you do

regularly at Breezes Super Club,

limbo dancing?” they asked. And

Sandals and special calls in the

the new King of Limbo in The

Family Islands. His performances

Bahamas was born.

are on You Tube.

Whitfield, a graduate of the

“I was lucky to find something

Sandilands Primary and L. W.

that I loved to do. At first I did

Young High School went home

not even truly know the influence

and built his own limbo pit. He

limbo had on the culture of the

practiced at every spare minute

Bahamas. I got into it and taught

he got. Adding the beer bottles to

myself it because there was no

his cross bars and the fire and the

one around who was interested

swirling serving trays. “I liked it.

in passing on the skill. I think

It was so easy. I taught myself how

young people have to motivate

to limbo so I put my own style and

themselves just like I did. Find the

swag into it,” he says.

thing you like and what you have a natural ability in and go from

Sixteen years later, and known

their. Don’t’ let nothing… nothing

as ACTION, the Limbo King of

get in your way,” he says.

the Bahamas all over the world, Morley has entertained thousands

The Limbo and Fire Dance is a

of visitors and locals alike and his

unique and compelling part of

pleasant personality and energy

the Culture of The Bahamas and

makes for a memorable act. He got

ACTION is keeping it alive.

his first limbo at what was then

BAAM - The Launch Edition

RASTAFA

RIANISM Story by Fe

nton T. Wil

liams

ITS JAM AICAN he influ INFLUE en Bahama ce of ‘Rastafari NCE ON an s in the m by Jamaica is un ism’ on the THE BA or iq Bahami an cultu al and spiritual uely ingrained HAMAS fiber of re. the

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he impact of this universal international religious phenomenon has contributed to positive and negative realities. Although the black, gold and aquamarine flag of The Bahamas is respected the red, gold and green flag which identifies the ‘Rastafarian’ movement is prevalent and its symbolism is knowledgeable to many Bahamians. The flag carries the Lion of Judah symbol with its color scheme deriving from the old Ethiopian flag. The red symbolizes the blood of black people

that were shed as a result of enslavement. The gold symbolizes the wealth of the African treasured legacy and the green represents the homeland with is vast forest and vegetation. These colors became embedded into the dress code in the 70’s, especially in tams and t-shirts. ‘Rastafarian’ custom-made jewelry also became adherent in the dress code as badges with African symbols identified the black heritage movement. This would open up a market of an art enterprise that didn’t establish large retail stores but more individual salesmanship from the

‘Rasta man’ himself. These ‘foot soldiers’ (Rasta disciples) engaged in small marketable products, that they felt didn’t infringe upon other sales markets, which in some cases were seen by ‘Rastafari’, as components of ‘Babylon System’. Products such as peanuts, fruits, badges, posters, cassette tapes, bracelets, tams and t-shirts were front line items. ‘Babylon System’ played a pertinent role in the Rastafarian Ideology which interpreted, spells out a worldly or ungodly network. The other small percentages of Rasta’s worked other societal

occupations where their ideology was accepted.

founded and established by the ‘Lucayans’ who he and his European counterparts The main impact of this extinguished off the face of influence by Jamaicans the globe, the ‘Rastaman’ on the presentation of would argue. Black history ‘Rastafarianism’ was was now being investigated the consciousness that by a small populace of heightened black awareness. black men who searched The untold history that for the history of their past. may have been exempt The research of history from the Colonial type was meaningful but what school system in the 70’s obscured its relevance was was being researched by the level of the literacy Bahamians who had an of some of the followers. interest in ‘Rastafarianism’. Many would have gathered Christopher Columbus ‘the their historical evidence discoverer’ would now be from history lessons pointed out to be known as and books, while others Christopher Columbus ‘the went on hearsay from invader’. ‘How could he have unknowledgeable persons. discovered a place that was In the 70’s the illiteracy

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Media would have played a major role in cementing this proliferation with the music genre being the chief vehicle.

rate was extremely high as the main weapon of the slave masters was to ensure that writing and reading for slaves was an illegal act, that constituted punishment. The famous quote of the Jamaican born, Marcus Garvey (17 August 1887-10 June 1940) Political leader, journalist, publisher, activist, and orator, recognized for establishing the Rastafarian movement states: “A people without the knowledge of their past history, origin and culture is like a tree without roots”. Garvey became the inspirational voice that built the foundation of the

Rastafarian movement. He inspired the newlyestablished Jamaican Reggae (Jamaican music created in 1930) artists who in turn inspired international listener including Bahamians. Cross culture has its merits and also its drawbacks. Interracial marriages with Bahamians and Jamaicans, Bahamians schooling at Universities, traveling to Jamaica and Jamaican migration has no doubt caused a proliferation of Rastafarianism.

Bob Marley, the Jamaican prophetic lyricist was not the foundational builder who sparked the fusion of ‘Rastafari’ in The Bahamas, but after he stormed throughout Europe and made a name for himself he would be the architect who would put the roof on a building that would withstand the criticism of a movement that gained notoriety. In the Bahamas, Peter Tosh, Bunny Wailer, Big Youth, Dennis Brown, U-Roy, Burning Spear were some of the Reggae vocalist who infused a climate of black consciousness that germinated the ‘Rastafarianism’ movement in the late 70’s. Embedded in the music were the historical quotes that informed and inspired the listeners to seek out their past. The African beat that echoed a rhythm of creativity was the source that exerted a redemptive yearning that evoked the black heritage.

Bob Marley would become the reggae artist who competitively broke into the musical genre and became recognized as a prophetic spiritual voice. His lyrics did not only promote ‘Rastafari’ but the common listeners soon were quoting and reciting his lyrics that in many cases brought a brand new enlightenment to the musical industry. From his Redemption Song which was a reputable hit, the lyrics read, ‘Emancipate yourself from mental slavery; none but ourselves can free our minds’, were the kind of intuitive lines that would influence and set the stage for a broken people to search for the redemptive dream that ‘Rastafarians’ had aspired. The old school type vocalist, like Peter Tosh, Big Youth, U-Roy had paved the way for a Marley who would become anchor in the relay of a musical marathon of religious and historical chanting. The influence of Rastafari made an impact on the Bahamian diet which if followed consistently

BAAM - The Launch Edition

could reap healthy rewards. Most Rasta’s are vegetarians who either didn’t eat meat or refrained from pork and shell animals. The food choice was called ‘Ital’ and encouraged natural organic vegetable choices like home grown bread-fruit, yam, eddoes, cassava etc. Canned food was considered to have additives that harmed one physically but as the movement evolved ‘Rastas’ seemed to take their health consciousness a little less seriously. Wearing dreadlock (long wads of meshed hair) which is significant with the Rastafarian culture, was considered to be a ‘holy consecration’ as it symbolized a lion’s mane which established ‘authority’. The locks represented a structured temple (the body was considered to be like a Holy temple). The Rastaman claimed that in the Book of Leviticus the Holy Bible forbids cutting one’s hair. Dreadlocks were seen in the seventies as a rebellious style and were compared to the stigmatized hair style like the hippies wore in the 60’s. There was an overwhelming prejudice against dreadlocks in the 70’s that at times fostered bad relationships in accepting the movement as respectable. The bad apples who wore dreadlocks as a fad and not as a sacred consecration perpetuated the idea that all the apples were the same in makeup. This was very far from the truth. Although the ideology by

Jamaicans was influential the masses still seemed to distrust ‘Rastafarianism’ and didn’t accept its principles. The successful progression of the ideology in many ways became stifled. Rastafarianism has stayed the course but its level of growth has somewhat diminished. The ritual of smoking of cannabis was another ideological casualty that Rasta’s indulged in that had a hard time fitting in the framework of Bahamian society in the 70’s. Smoking weed was highly rejected, especially as it was a known illegal substance according to the law. The smoking of this illegal substance would remain

from becoming legal was the fact that the governments of the world could not tax herb (weed) trees that could be grown on any citizen’s property for usage. Marijuana in this modern era has become registered as a pharmaceutical item of great benefits.

According to the Rasta’s argument marijuana was significant as the herbs of the land was good as it was noted in the book of Genesis and a blessing to Jah’s (Jehovah) creation. the blemished stain that became a distraction affecting the message of the movement. According to the Rasta’s argument marijuana was significant as the herbs of the land was good as it was noted in the Book of Genesis and a blessing to Jah’s (Jehovah) creation. The other argument was that the Rastaman felt that the means to refrain marijuana

The cannabis debate has made progressive positive strides but is still seen in a negative light by the masses. The misuse of marijuana due to the politics that disregards the scientific evidence of its proper usage continues to hamper successful progression. Jamaican’s ability to influence Bahamians on the induction of

‘Rastafarianism’ infuses a dynamic collaborative Caribbean style affiliation that fosters unification. ‘Rastafarianism’ evolved out of the history of a trampled people but its essence has created a way of life that history may in turn not repeat itself. The Rastafarian religion is based on one’s love for God, self and others. Humility and compassion are emphasized as the cornerstone. It may in some ways seem to be prejudice against white people but its teachings spell out clearly that it is white superiority that it challenges. It seemed to have come to the rescue of the black man when his back was against the wall, from the side effect of emancipation. If we were to gather ourselves, historically, morally, and spiritually we would come to realize that ‘Rastafaris’ significance serves to be a valuable lesson for the ages.

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BAAM - The Launch Edition

ALL AROUND THE WORLD Bahamians in China

BEIJING, China – The Bahamas Creative Folklore Arts Company member Tinesha Duncan dances with one of the Chinese boys who was under the parasol, as his friend giggles at him, during the company’s performance in the Gulou Culture Square of the Dongcheng District, Beijing, The People’s Republic of China, during the 7th Meet In Beijing Arts Festival.

BAAM - The Launch Edition

BEIJING, China – Naressa Moss teaches a group of Chinese women a few dance moves as The Bahamas Creative Folklore Arts Company performs in the Gulou Culture Square of the Dongcheng District, Beijing, The people’s Republic of China.

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BEIJING, China – Talbert Williams sings as other members of The Bahamas Creative Folklore Arts Company perform in the Gulou Culture Square of the Dongcheng District, Beijing, The People’s Republic of China.

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BEIJING, China – Macushula Thompson dances with Chinese audience members and artists from other countries during The Bahamas Creative Folklore Arts Company's performance in the Gulou Culture Square of the Dongcheng District, Beijing, The People’s Republic of China.

BEIJING, China – Three young Chinese boys enjoy the scene as members of The Bahamas Creative Folklore Arts Company perform in the Gulou Culture Square of the Dongcheng District, Beijing, The People’s Republic of China, during the recent (7th Meet In Beijing).

ALL AROUND THE WORLD Bahamians in China

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RYDE, Isle of Wight, England â&#x20AC;&#x201C; Mr. Treilon "Raker" Stuart of the Saxons Superstars shows Greenmount Primary School students a basic fringe and paste pattern on a white sheet of paper, during a visit to the school in Ryde, Isle of Wight. Mr. Stuart is a member of the Bahamian team of Junkanoo artisans and performers on the English island undertaking a residency programme there, in a Junkanoo appreciation exercise for master artisans in England, school children and the general public.

RYDE, Isle of Wight, England â&#x20AC;&#x201C; Lead Beller Mr. Frank "Laing" Wallace of the Saxons Superstars poses with Greenmount Primary School female students who won a bell-ringing challenge against the boys, during a visit to the school in Ryde, Isle of Wight. Mr. Wallace is a member of the Bahamian team of Junkanoo artisans and performers on the English island undertaking a residency programme there, in a Junkanoo appreciation exercise for master artisans in England, school children and the general public.

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RYDE, Isle of Wight, England â&#x20AC;&#x201C; Master Drummer Mr. Quentin "Barabbas" Woodside, of Barabbas and the Tribe, poses with Greenmount Primary School students after a Junkanoo drum appreciation class, during a visit to the school in Ryde, Isle of Wight.

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Bahamians in England

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RYDE, Isle of Wight, England – Ms. Junkanoo Bahamas and Valleys Boys member Devia “Diva” Wilson leads Greenmount Primary School students in a basic dance routine, during a visit to the school in Ryde, Isle of Wight.

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National Art Competition

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E. Clement Bethel National Festival

LONG CAY, The Bahamas â&#x20AC;&#x201C; Long Cay All Age School teacher Ms. Nishgo Collie and a few of her students waving goodbye from the northern dock to adjudicators who visited the island recently for the E. Clement Bethel National Arts Festival.

Around The Family Islands E. Clement National Arts Festival visits Long Cay

LONG CAY, The Bahamas – Dance Adjudicator, dancer and Dance Instructor at the National Dance School Ms. Le Keisha Bostwick and Drama Adjudicator Mr. James Catalyn show students at the Long Cay All Age School steps for the “heel-toe” dance during the recent E. Clement Bethel National Arts Festival adjudication in Long Cay, near Crooked Island.

LONG CAY, The Bahamas – Adjudicators and stake-holders for the E. Clement Bethel National Arts Festival posing recently with persons who performed during its adjudication in Long Cay, near Crooked Island.

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Around The Family Islands Moores Island Shows Talent in National Arts Festival

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Around The Family Islands Bimini Dances in National Arts Festival

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Around The Family Islands Snug Corner Primary Shows Off Acklins Talent

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Around The Family Islands

Abaco High School Showcased at National Arts Festival

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In your prayers ….. Ezra Hepburn, the entertainer who put the splits into the Banana Boat is also in need of your thoughts and prayers at this time as he faces health challenges.

The legendary Franklin Ellis 90, better known as Count Bernardino is seriously ill and at home on the corner of Dowdswell and Armstrong Street. The Count was the voice of the now defunct “City Market” radio jingle and his voracious laughter he worked into his music made his trade mark pieces such as “ Conch Aint Got No Bone”, “Three Young Girls Across My Chest” and his duet with the legendary Ronnie Butler, “ Age Aint Nothing But a Number”, a Bahamian classic. The Count’s kids Joey and Nita followed him into the entertainment business.

The Godfather of Bahamian music Ronnie Butler is recuperating and showing much progress since his illness last year. Ronnie was out and about, although in a wheel chair to see the revealing of a life-sized statue of him at FML Group of Companies headquarters. Ronnie’s Classic “Burma Road” is now being enjoyed by a third generation of Bahamians.

Did y ou kno w?

Eloise Lewis

The Chi Chi Merengue Girl who took Goombay Music around the world.

Born in Jacksonville, Florida in 1935, Eloise showed interest in music from a very early age. Her brother, Freddie, who played the guitar and wrote songs, played a hand in passing his musical skills on to his sister. Eloise, without a doubt, rose to become the most respected female entertainer in her time. Only time will tell whether she will be the greatest in the annals of Bahamian times. There are many reasons for the many accolades bestowed upon her. She was a pioneer when it wasn’t popular for women to be performing on stage in nightclubs. In a male dominated industry, she made her presence felt with her powerful voice and unique delivery of Goombay songs . Not only did she sing her way into the hearts of those that listened to her, she was very competent on the lead and bass guitar. Starting her singing career at the age of twelve, Eloise distinguished herself by winning many amateur talent shows, some of which were held at the Cinema Theatre in Nassau during the 40’s and early 50’s. She further developed her musical talent playing with renowned Goombay drummer Berkley “ Peanuts” Taylor.

After her first “Chi Chi Merengue” in the 50’s she left to tour the United States . The 60’s would bring her back to the Bahamas to perform for local audiences in various clubs including Blackbeard’s Tavern on Bay Street, Montague Beach Hotel at the eastern foreshore of Nassau, she joined The Emerald Beach Hotel on West Bay Street. After a three year absence from the stage, she joined “Peanuts” in 1967 as a star attraction at the Drumbeat Club just off downtown Nassau. At a time when the Bahamas Tourist Board used local musicians to drum up visitors to our shores, Eloise along with many other musicians made invaluable contributions to the building up of the tourism industry. Her travels would take her to many far away destinations including the United States, Mexico, Europe and Japan, where she captivated audiences with her brand of Goombay music. Her move to Freeport would mark the last of her travels. There she remained until her death in 1984.

Music Masters Celebrates the icons of Bahamian music & culture-

Maureen Duvalier, a prominent entertainer herself, and a friend of Eloise, described Eloise as a very private person who kept few friends. They first met when Eloise was working the Hillside Hotel just steps away from where Maureen appeared at the Silver Slipper. According to Maureen, Eloise would talk music all day, and encouraged everyone she met to learn to play an instrument. An avid reader, Eloise enjoyed time alone unlike the bubbly Maureen who was always on the go. Maureen recalls the one occasion both of them happened to walk into Blackbeard’s tavern. George Symonette celebrated at the insistence of the club owner, with people on the outside clamoring to gain entrance to witness what was described as once in a lifetime performance. During her years on the Bahamian stage, Eloise was often accompanied by George Wilson (bass), “Peanuts” Taylor (drums) and “Barbalou” (maracas).

I sing because I am happy, I sing because I am free.

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NO TIME FOR SUGARCOATING THE BAHAMIAN REALITY Playwright/Retired Supreme Court Justice Jeanne Thompson re-awakens the Drama.

eanne Thompson distinguished herself as an Attorney, Politician and then as a Justice of the Supreme Court. Along the way she crept into the consciousness of the Bahamian people with her radio drama, “The Ferguson’s of Farm Road” and her provocative column in the Nassau Guardian in the 1970s, “Satirically Speaking”.

As a respected commentator--Our Ashley Williams sat down with Justice Thompson for this interview.

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BaAm: How in your opinion does art influence politics, or is the other way around does politics influence art? Jeanne Thompson: Successive governments have not really had any interest in the Arts unless it could help them. For instance, if you’re having a meeting of Prime Ministers then they ask the artist if you can do this, that or the other. Generally speaking however, they don’t promote the arts, except Junkanoo, and they don’t pay that much attention unless it’s a Play that someone tells them “we’re going to talk about politics” then they would come in. Politics would affect the art when you write a Play, you would bring in what is going on in the country which would be to a great extent politics. I think there’s too much politics in this country anyhow. That’s one of the problems.

“

BaAm: Do you think that art can lead to social change?

do more with welcoming tourists and treating them nicely. There was a time when they said that tourism was too servile. That was why the people in the other Caribbean countries were not too anxious to push it when they realized how we were doing so well with tourism and sugar and bananas weren’t doing that well. You can be polite without being servile, but some thought it was too reminiscent of slavery. BaAm:

What is your definition of Culture?

Jeanne Thompson: Well culture I think is the lifestyle of the people: what they eat, how they think, how they entertain themselves, their art and everything that springs from that- art and the Playwright come from that. The culture is really the lifestyle of the people. BaAm: Is there a difference in comparison between Bahamian art forms and other Caribbean art forms?

“Zeke and Sophie” were the forerunners to Potluck’s “Grannie and Fleabs” and thru their voices, Ms. Thompson imparted social commentary on a wide range of hot bed issues in her Nassau Guardian weekly column.

Jeanne Thompson: Art can definitely lead to social change. I remember years ago when I went to a seminar done by a Guyanese and a Trinidadian. The whole thing was “How do you change a person’s attitude?” And it had all to do with communication and art and the big thing then was radio programming and television. It is television more now because people don’t listen to the radio as much as they did. That was one of the reasons I was asked to do the production “The Fergusons of Farm Road”, to change people’s attitude towards tourist because people were complaining that the service they were getting was so poor. So the whole thing was to change their attitude and make people

Jeanne Thompson: Well, I think there is a difference in every country. Basically we have the same make up as far as racial mix is concerned and we have the same geographical setting. We are a little bit different from some of the other islands in that we didn’t have a plantocracy. We didn’t have a plantation situation, but if you look at it, most of us came from Africa by way of the Middle Passage so a lot of our culture would be very similar. We were also colonized by the Europeans, so we have some of their faith flung upon us. Basically, it is very much similar, we have certain differences. For instance, we don’t have Carnival, we have Junkanoo. Jamaica doesn’t have Carnival although I understand we

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are about to impose Carnival upon ourselves. BaAm: Is there anything that makes Bahamian art forms different from our Caribbean brothers’ and sisters’ art forms? Jeanne Thompson: From the music aspect, Jamaica has reggae, Trinidad has steel pan, and I think that the steel pan was the result of the oil industry in Trinidad. The reggae evolved from Ska, but the Jamaicans have always had a much more highly cultural background from what we’ve had. They’ve had writers, songwriters and fine artists. Far much more than what we’ve had and our differences that we’ve surely just kept. Our Junkanoo is unique. The big difference is the difference between Carnival and Junkanoo. As I said the steel pan is Trinidadian because of the oil industry. I think a lot of Jamaican songs come from the struggles they had and they have a very definite class structure that I didn’t see come into The Bahamas until recently. BaAm: In terms of Plays there is a European standard, a set standard, when You go to a Shakespeare play you know what to expect. Is there a set standard when it comes to Bahamian Plays and Playwrights? Jeanne Thompson: I don’t think so because when you look at it, it’s all changed. A Shakespearian play today is so different from what a modern British playwright would write today; things have evolved. Shakespeare is popular worldwide because of the wealth of worldly experiences and human elements in his plays. People however don’t go in for the long plays anymore, but some people are going back to Shakespeare’s thing ... no props, no stage and no elaborate sets, so the set is usually stark and depends more on the performances of the actors. That makes it cheaper to put on a play. My last successful play was just three platforms.

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BaAm: Tell us about your recent Playwriting experience?

“

Jeanne Thompson: The play is “Father’s Day”. It’s always evolving. I don’t know if you saw the onewoman Jamaican performance in last years’ Shakespeare in Paradise because it was brilliant. She only had a bare stage, a couple of props and it was all her acting out like in the one she did called “Bloodclot”. She acted out six different characters, changing her voice and everything. It was brilliant. I just thought it was fantastic. BaAm: How can helping the development of our social consciousness through drama help our people? Jeanne Thompson: We’ve seen

The Fergusons of Farm Road” was The Bahamas’s first radio drama which took its place alongside the foreign imports like ‘Dr. Paul” and “Inspector West to the Rescue” on Radio Bahamas.”Fergusons” gave Bahamians characters and situations they could readily identify with.

how other countries influence us through mediums of media like television; take for instance soap operas. How can we relate to them realistically? It’s a different culture. We as a people look to North America for direction. I think we can influence the social consciousness by getting people to look at Bahamian art which shows the Bahamas as it is and what you can aspire to be in your own country.

it and have our playwrights and actors. Even the most successful movie stars still want to go on stage because its a very different experience to be on stage and get an immediate reaction from your audience and every performance is different because of the reaction of the audience. When you’re performing for cameras you don’t have any feedback. You only have the Director to say cut. (Laughs)

BaAm: There is a school which thinks the printed newspaper will become obsolete.

BaAm: Junkanoo is sponsored by both public and private entities. Would such an approach aid in the development in the playwright culture of the Bahamas?

Jeanne Thompson: I don’t think so. I believe people would still like to see that real life performance and so long as you make it relevant, easily understandable and present it as a nice evening out, I don’t think that it will ever become obsolete. So long as we nurture

Jeanne Thompson: Most Definitely! If the government decided it needed to boost its Playwrights, they could give them a six month sabbatical to write a play with pay and it could work. However, when you have to work, go home and then decide you want to write a play, a lot of people can’t do it. BaAm: So there is a burden of embracing the culture, embracing that side of yourself in The Bahamas?

Jeanne Thompson: Yes there is because you don’t get paid, you have to go to work to make sure you can make a living for yourself and for your family. One person who I know did it all the time was Trevor Rhone who used to teach until he decided he would only write plays. However, Jamaica has a more developed theater than we have as I said before and he was able to make a good living and he wrote some excellent plays that have had an international run, not even just regional. There were even movies made out from his works like “Smile Orange”. BaAm: So there isn’t a lack of talent, it’s that persons aren’t given a vehicle to express this talent. Jeanne Thompson: Also there is a problem in our society where people don’t like criticism. You would notice that we don’t have any critics now. I used to do criticism and I was crucified many times because people don’t like to see the truth or someone else take on what they’re doing unless you’re praising them to the heights. I think criticism helps you to grow. Without criticism you would end up being mediocre

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forever. I always try to get persons’ opinions I respect and not those who would ‘josh’ me to look at my work and give me an evaluation. BaAm: In this country, politics is said to be the greatest stage. Do you think that theater has a role to play in the process of nation building? Jeanne Thompson: Most definitely! I think that more people would soon start doing it, showing people what jackasses we do elect to parliament and who we think know so much and don’t know nothing. I don’t know how people could think that because you fool a lot of people into voting for you, you now know everything about everything and people should not criticize you. We used to do a review. The first big one we did was after the election in 1967. I don’t have to tell you that the politicians’ had no intentions of coming to see that play. But when they heard about this review we were doing, this satirical review about the 1967 election and the change in government, all of them wanted tickets, all of them wanted to come. That was very well done. The thing is, I don’t cater to politicians. If I’m having a play, I get in touch with who I know would usually come, like the politicians I knew who would always come to our plays would be Clement Maynard and his wife always supported us, Peter Christie and his wife always supported us. The rest of them not; if I didn’t have those

tickets, sorry your place has been sold out. I don’t know if other people react like that but I did. I don’t have time for people who think that because it’s something that would big them up or make them look important, they want to come. Where were you yesterday when I was struggling? BaAm: Your work, your plays, I find that they encapsulate the Bahamian Story taking into account various aspects of our society. It’s never one dimensional. Jeanne Thompson: Oh thank you because some people say that all I did was show the bad side of The Bahamas. (laughs) BaAm: It isn’t one dimensional. The plays that are being produced now, do You find that they are taking a similar approach or do you find that they are being one dimensional and giving people the status quo? Jeanne Thompson: I don’t think there is enough going on now. Don’t you think so? There is Scarcely anything going on with playwriting. Most people are talking about making films. That’s why I thought you said that theater would become obsolete. I would like to see more people doing plays and I think there is an audience for it because whenever you have a good show in the Dundas, the place is full. Sammy Swain for instance, but they had last year in Shakespeare in Paradise.

Most of the productions at Shakespeare in Paradise are very well attended. I think Bahamian writers, I think a lot of it as I said has to do with no criticism and so they keep on doing the same thing because people are coming out to see it. I’ve heard people say that I’d rather see a half assed Bahamian play than go see one that’s foreign because I can relate to it and I’m supporting my own. But the last two Shakespeare in Paradise’ they had two Jamaican plays and they were so good and everybody enjoyed them so much; sold out performances. BaAm: We touched on this already but I’m going to ask. The mediums in Art often change. What changes do you foresee being made by Bahamian playwrights in the future to enhance the art form? Jeanne Thompson: What I think we’d see is less elaborate sets and more emphasis on the Acting. I think we’d see smaller casts because people are more conscious of cost and stuff like that. I remember going to a playwriting class and this girl was writing this play and she had so many characters, it would have been exceedingly difficult to put on. So I think there will be more social comment, people would be less afraid to come out and criticize

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our little gods (laughs) and you’ll see a real portrayal of the real Bahamas rather than a sugar-coated one. I think some people would write about Bahamians dressed up in these funny looking clothes. I think they’re parodies rather than plays and people enjoy them but I don’t think it improves the quality of Bahamian playwriting. But I think we are going to move away from that and get more people involved in serious dialogue on stage about things that matter. If I knew more about VAT I would write something about it but I don’t understand it myself. BaAm: Thank You. It has been awesome. Jeanne Thompson: Thank You.

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A Brown Girl In The Ring . . . I BAAM - The Launch Edition

wonder who wrote the words and lyrics to those senseless, rhythmic and thoroughly enjoyable chants and ring plays of yesteryear. Those songs and chimes to which children danced and preened? Some of them are heard during our cultural festivals and some are regretfully lost. With no television or radio, folks found many, many ways of amusement. To form a huge ring boys and girls held hands, spread out, and thence began cavorts and dances which went on for hours.

â&#x20AC;&#x153;Blue hill water dry, Nowhere to wash my clothes I remember that Saturday night, Fried fish and Johnny cake Man take one and satisfied. Woman take two and she make a moveâ&#x20AC;?

RHYME OR REASON: RINGPLAY TIME

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To play this, one person danced in the ring and selected partners at certain times. “Miss Lucy hang yourself on the mango tree, “Miss Lucy hang herself “ And when she come back her lover was gone. Oh where you thinka, thinka her lover must be? Right down in the mango tre.” The person in the ring must walk around with hands akimbo and look for her ‘lover’. A slow chant was “Lucy in the Barn.” “Lucy in the barn, John Demeritte Prettiest girl I ever did see Oh bye-and-bye arms around me, Say, little Suzie won’t you marry me? Oh step back, gril don’t you come near me. All those sassy words you said, Oh bye-and-bye arms around me Say little Suzie won’t you marry me?” Another song was: “Little Sally Water” Little Sally Water settles in a saucer, Rise Sally, rise Sally, Wipe your weeping eyes, Sally. Turn to the west, Sally. Turn to the very one that you love the best.” Little Sally makes the appropriate movements. A slow trotter was: “ Fire Down the Road,”

“Fire down the road, Mama, Come let’s go see. Oh aint no good of you running Fire burn down already.” A slow canter was “I come to see Miss Gillian John (repeat 3 times) And how are you today? Children also played Jack’s and Five Rocks. A popular pastime was a duet with facing partners, just clapping! Chee, chee, chee look at that bird Mama’s goin’ to buy me a mocking bird, If that mocking bird don’t sint Mama’s goin’ to buy me a diamond ring If that diamond ring don’t shine Mama’s goin’ to buy me a glass of wine If that glass of wine get broke Mama’s goin’ buy me a billy goat If that billy goat run away Mama’s goin’ buy me a horse and dray. Then there was “John, John the Barber.” He went to shave his father, The razor slipped and cut his lip, Hurrah for John, John the Barber; Pease pudding hot, Pease pudding cold, Pease pudding in the pot for 9 days old

I asked my mother for fifteen cents To see the wild elephant who jumped the fence. He jumped so high ‘til he reached the sky, He never came back until the 4th July Sarrah, come pay the money, Sarrah, come pay the money I love coffee, I love tea, I love the pretty boy who loves me. Mary Mac, dressed in black. Twenty-four buttons behind her back, Six to the east, Six to the west Six right down to the cuckoo nest.” I never did find out what happened to the other 6 buttons on Mary Mac’s black dress- but who cares?

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41 Cultural Warriors

The Government of the Commonwealth of The Bahamas, on the occasion of the 41st anniversary of independence, July 10th 2014-â&#x20AC;&#x153;The Year of Cultureâ&#x20AC;?presents to the country Forty One CULTURAL WARRIORS for National Recognition, Honour and Highest Commendation. Drawn from a multi-layered field of endeavor, our 41 CULTURAL WARRIORS have distinguished themselves through their art form and expression; and accordingly have humbly achieved status amongst their peers and the public consensus of appreciation. It is with profound gratitude, we present the 41 CULTURAL WARRIORS:-

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the culture warriors 1. Alphonso Blind Blake Higgs (d) - ‘Jones! ‘O’ Jones Please Bring My Woman Back Home’ 2. Amos Ferguson (d)- ‘Solo Exhibition at the Smithsonian’ 3. Antonius Roberts – ‘Slave Memorial at Clifton’ 4. BahaMen –‘ Who Let the Dogs Out’, FIFA World Cup 2014 5. Becky Chipman (d) ‘Set the world on Fire dance’ 6. Beginning of the End – ‘Nassau Gone… Funky Nassau got Soul’ 7. Brent Malone (d) ‘Father of Bahamian Modern Art’ 8. Buttercup (d)–‘Limbo King of the Caribbean’ 9. Charles Carter –‘The Young Bahamian Show ‘…’ These are Bahamians’ 10. Cleophas Adderley Jr – ‘Our Boys’ …Wind under the wings of the National Youth Choir’ 11. Count Bernardino – ‘Take Your Meat Out Me Rice’… “Six Young Girls Across My Chest’ 12. E. Clement Bethel (d) – ‘Sammie Swain’… ‘ Muse of the National Arts Festival’ 13. Eddie Minnis – ‘Hey Mr. MP lemme see your bank book’ …Pot Luck … “Naughty Johnnie” 14. Ezra Hepburn – ‘Ghost Riders in the Sky’… ‘Stop the World I want to Get Off ’ 15. Freddie Munnings Sr. (d)– ‘Conservatory trained voice’… ‘Social Activist’ … ‘Abaco Beware’ 16. George Symonette (d) ‘ Little Nassau’ 17. Jackson (d) and Stan Burnside … ‘ Band of Brothers :The Defining Canvas of Junkanoo’ 18. James Catalyn – ‘Summer Madness’… ‘Laffin At We Self ’ 19. Jay Mitchell – Princess Towers ‘JunkaParty’… ‘Tribute to Smokey’ 20. Jeannie Thompson – ‘Zeke and Sophie’… Miss Lye … ‘Fergusons of Farm Road’ … Satirically Speaking’

21. John Berkley Peanuts Taylor – ‘The Drums are Alive’ 22. John Chipman – ‘Dat Goatskin Sweet’ 23. Joseph Spence (d) The Unsung -‘Mr. Guitar Folk Music Giant’ 24. Kayla Lockhart Edwards (d) - ‘Contract Voices’… ‘Back Up for Perry Como’ 25. King Eric (d) -‘Once Is Not Enough’… Elite Recording Studio’ 26. Leroy Duke Hanna (d) - ‘Small Hope’… Led Musicians Union’ 27. Maureen Duvalier-’ Gin N’ Coconut Water … ‘ Ask Me Why I Run’ 28. Pandora Gibson Gomez(d) -‘Dramatist … Educator’ 29. Patricia Bazard –‘Prepared the children for Independence 1973 … Educator’ 30. Paul Meeres (d) -‘The toast of Five Continents’ … ‘ Dancing Machine’ 31. Percy ‘Vola’ Francis and Winston Gus Cooper (d) – ‘They Coming!’ 32. Ronnie Butler –‘The Godfather of Bahamian Entertainment’ 33. Shirley Hall Bass (d)- ‘The Lady of the Dance’ 34. Meta Davis Cumberbatch (d) ‘ The Mother Teacher of our Emerging Culture’ 35. Susan Wallace –‘Children’s Literature in the Eye of the Sun ‘… ‘Who is the Woman in this House?’ 36. Edmund Moxey (d) –‘Cultural Political Activist’ Muscle and Guts … Jumbey Village’ 37. T Connections – ‘Doing Alright on Saturday Night’ 38. Timothy Gibson(d)- ‘My Country of Thee We Sing’ 39. Tony Mackay(d)-‘He Came Down on a Lightning Bolt’ …’We Stronger than Steel’ 40. Wendal Stuart (d) – “ I Thank Heaven’ 41. Winston Saunders (d) ‘Horse’… I, Nehemiah’

ibution r t n o c e h t g commendin d n a g in iz n g o Saluting, Rec tural Artists for their Achievements Bahamian Cul 126

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PROPHET LAWRENCE ROLLE

CALVIN COOPER

P. ANTHONY WHITE

PROPHET LAWRENCE ROLLE From the headquarters of his Coconut Grove Community Church, Prophet Lawrence Rolle has mixed inspiration into his sermonizing and liturgical dance for a worship experience peculiar to his faith. His gospel recordings are cherished and he has been known to pull the crowd at a gospel or secular concert.

SIMEON OUTTEN - A staple of the Grand Bahamas Gospel community and a must have performer at any grand gospel concert in the capitol. This young man from Eight Mile Rock Grand Bahama has a voice range and spirit which has lifted the roof top off auditoriums, cathedrals and camp meetings.

ANTHONY DELANEY - A thespian of renown. From the world of Trevor Rhone to Saunders’s “Horse”, Delaney has dominated the stage and had appearances in intl’ flicks like “My Father the Hero”.

PHILIP BURROWS- He can be credited with advancing opportunity for more Bahamians on stage and back stage. His signature director’s seal of approval has been on most works of wonder on the Dundas Stage and the partnership with his wife Nicolette Bethel with “Shakespeare in Paradise”.

CHARLES BOWLEG (d) - The Lion of the Bahamian Stage. The “Mr. Ferguson” from the “Fergusons of Farm Road”, to “God and the Naked Nigger” and “Contract Voices” and his local television appearance in “This Time Next Year,” the late Mr. Bowleg had an impressive body of work.

TELCINE TURNER ROLLE (d) She captured the underbelly of the Bahamian psyche in “ Woman Take Two” her most celebrated Play which scored the divide between the Bahamian and Haitian communities.

FRANK PENN

CEDRIC SCOTT-Now residing in California, Mr. Scott took a liking to drama at an early age and performed on every available stage in the country. His production work on the Mandela project, long before the South African leader was released from prison, is still celebrated. CALVIN COOPER (d)- The support beam for theatre in Grand Bahama. Nourishing the work of many new artists and keeping Bahamian theatre abuzz. P. ANTHONY WHITE - He wrote drama and journalism. His “For Whatever Its Worth” column shaped political public opinion for decades. His weekly column in The Punch immortalized prominent unsung heroes of the Bain and Grants Town community of the turn of the last century. His intellect as a political speech writer and grammarian stood him part from the crowd.

ANDRE TOUSSAINT

SONNY JOHNSON (d) - The son of the irascible Felix Johnson was born to perform on the floor of the Zanzibar on Blue Hill Road and King Street and his voice and his style took him around the world, finally settling in Freeport where he deftly charmed the Magic City. FELIX JOHNSON (d) He hailed from Exuma and his Zanzibar brought international Black American talent to this country – James Brown, B. B. King, Fats Domino, Percy Sledge while he created a format which intertwined Bahamian culture and Bahamian artists. Along the way he lifted the standard of the entertainment fare in our country and encouraged our local artists to excellence. FRANK PENN (d)-His Grand Bahama Recording Studio became the revolving door for talent in the Magic City. He gave us “ In the Bush… We got to Stay in the Bush”, “Gonna be a Goombay Summer”, as he sold Freeport Lucaya to world.

Saluting, Recogniz Bahamian Culturaling and commending the Artists for their A

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contribution chievements

DRY BREAD

ANDRE TOUSSAINT (d) –The Bahamas woke up every morning to “Where have all the flowers Gone”, on Radio Bahamas in the 1960s, which was this crooner’s re-make of the classic. Andre hailed from Port Au Prince Haiti. He brought merengue and Haitian culture to the Bahamas tourists’ scene and was lead singer for a number of bands before he went solo. Other Haitian artists like Robert “Bob” Gordon complemented his fare along with an all Haitian band that played at the Pink Pussy Cat in the 1970s. CLEVELAND WILLIAMS- A child prodigy baritone, Cleveland Williams has stormed the music circuit in this country and enlivened the Anglican Church where he worships. Last year his annual conduct of the The Nassau City Opera Company – Annual Remembrance Day Concert at Christ Church Cathedral, took the genre to new levels. DRY BREAD (d)-He burst on the

KENNY AND THE BEACH BOYS

scene with a new calypso vibrancy and gave us “Fish Swim in the Ocean” and “Long Hot Summer” before he left us –much too early. WILFRED SOLOMON AND THE MAGNETICS- “Talking Fool is a Very Serious Thing” took Solomon to the top of the local charts and earned him major band jobs on the cruise ships. SWAIN AND THE CITATIONSWendal Armbrister aka Swain never got any formal training on the drums . But his audience would never know that. Together with the band called “the Citations” Swain kept the vibe alive in Freeport as he introduced Trinidad soca and calypso to the scene. His “Sandra”, “You better move on” and “Dream of Me”, reignites any ‘Oldies Goldies’ party. KENNY AND THE BEACH BOYS- From the famous Out Island Bar in the Nassau Beach Hotel Kenny and Beach Boys reigned

WILFRED SOLOMON

supreme with hits like “Ring Ting Ting” ,” The Big Bamboo” and “Chi Chi Merengue”. This was one of The Bahamas’s first premiere groups to package their music and sell their albums to the thousands of visitors on our shores. FRANK MINNIA/And the BANANA BOAT CLUB - Mr. Minnia hailed from New York and arrived in Nassau in the late 1950s and took over the ownership of the Banana Boat Club, lending a new energy to the Bahamian Soul Train experience. “The Boat” as it was called grew up a generation in this era and the solid friendships made back then are still celebrated every year in a Back to the Boat Reunion Gala and Black Tie Affair. Located on the corner of Farrington Road and Horseshoe Drive was the teenagers’ Happy Days of the late 1950s early 1960s. Scores of international celebrities wandered through its door and thousands of Bahamians made the Boat their

CALVIN LOCKHART

weekend experience to enjoy the local artists such as Ezra and the Polka Dots, Smokey 007, Wendal Stuart and Tony Seymour. CALVIN LOCKHART (d) - “In Cotton Comes to Harlem” this Bahamian Actor gripped Hollywood with his good looks and talent. SMOKEY 007-The Elvis Presley of the Bahamas. His tragic death gripped the nation. Performing from the tender age of 16 and with a string of hits; his was the most recognizable radio voice. Fans hustled to raise funds to provide care and comfort for Smokey who suffered from brain cancer. His “Save the Last Dance for me”, lives on as a classic. DAVID ROLLE A headliner at several international shows and a stable at the Trumpet Awards, He has emerged as a premiere designer on the runways of the world.

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NETTICA SYMONETTE

NETTICA SYMONETTE – Her bravado and energy in the hospitality industry and her accompanying interest in Fine Art and relics of our past into the international tourist fare signal her out for special mention. JOHN JEFFERSON SCAVELLA (d)-A generation who grew up on radio made Jeff the superstar Disco Jockey of the 60s, 70s and 80s.“This Is The Out Island You Ask For It Show” crooned Jeff Scavella and it was unheard of to touch that dial until he had spun his last record on ZNS radio every Saturday night at 11pm. Jeff hailed from Hatchet Bay Eleuthera and his bass voices over his “Lutra” inflexes gave his voice the Howard Stern touch to keep a generation of Bahamians tuned into our music as only Jeff could play – “Whose Making Love to Your Old Lady While You Was Out Making

VIVECA WATKINS

Love” on the front half and fuse it into “Everything I do the Monkey Want Do.” HUBERT FARRINGTON (d) He danced with the premiere Ballet companies of New York in the early 1950s and chose to return home to Bahamas and teach his craft to a generation of Bahamian youth at the Nassau Civic Ballet. He exposed Bahamians to international dancers like Alex Zybine and Eric Darby. A tragic hit and run car accident claimed his life when he was well into his late 80s. EDNOL WRIGHT (d)- He danced with Alvin Ailey and was a star student of Madama Lavinia Williams. Returning home to Nassau, he taught dance in the nation’s public schools and served as a Dance Consultant with the Ministry of Culture.

HON. EUGENE DUPUCH

LAWERENCE CARROLL - Another Dance protégé of Hubert Farrington and Ms Shirley Hall Bass. Mr. Carroll has influenced hundreds of Bahamian students. KRAZY BOYA (d) -Hailing from off East Street, Junkanoo spectators lived for the moment when Krazy Boya would enter Bay Street and light up the Boxing Day and New Year’s Festivals with his stylized and provocative solo dance moves to the Junkanoo music. KB, the prolific calypsonian would immortalize Krazy Boya in a signature song. PORTIA BUTTERFIELD NOTTAGE - One of the alltime great female voices and performers of the country. From headlining in a Zev Buffman production - the American music theatre composer chose her as the lead singer for his Carnival

HARL TAYLOR

Crystal Palace Rain Forest Theatre production. THE HON. EUGENE DUPUCH (d)- Writing under the name “Smokey Joe”; Mr. Dupuch canonized Bahamian dialect while effectively commenting on international and national issues. His is a style which is yet to be even remotely duplicated. HARL TAYLOR (d) - A tragic and gruesome finale to an artist still discovering himself. Yet Harl Taylor at his death had his signature ladies bags in the high end luxury shops of New York, Milan, Rome, Paris and London. VIVECA WATKINS (d)-The comedienne who lit up the stage at the Dundas and James Catalyn and Friends and lent her voice and image to classic radio commercials.

Saluting, Recogniz Bahamian Culturaling and commending the Artists for their A

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contribution chievements

THE REGION BELLS

RICHARD CRAWFORD and SYLVIA LARRAMORE CRAWFORD (d)- This husband and wife team – he from London and she from Cat Island made their entrance at the Bahamas Teachers Training College where he was Principal and together they went on to create great radio drama and shows such as “The Bahamas Champion of Knowledge”. TRANSFIGURATION BAPTIST CHURCH CHOIR- In the early 1970s this Choir was recording on LP and lifting Baptist anthems to choruses being heard all over the Americas. ROBERT JOHNSON- His poetry is in several distinguished anthologies and “The Road” first published in 1973, the year of our Independence is still a time honoured classic.

JOHNNY KEMP

BERKLEY VAN BRYD

A. B. MALCOLM (d)-He demonstrated “One Bahamas” from the early 1940s and as a White Bahamian came to Bay Street and carved out an individual spot for himself in the Junkanoo parades which had their origin in the expression of freedom from the emancipated African Slaves. REV. JJ STUBBS - He was senior pastor of Southland Church of GOD and radio broadcaster. Rev. Stubbs carried the longest radio program on the state run radio ZNS. He was known for his promotion of Bahamian gospel groups and was lead singer of The Region Bells. ALONZO HOLMES -The famed drummer whose repertoire can be heard on some of the greatest hits of Ronnie Butler and other artist.

IRA STORR

SWEET EMILY

BIG JIM DUNCOMBE -The voice that replaced Ronnie Butler in the King Eric and His Knights Band.

MITZI CHIPMAN- The Fire Dancer who inherited her mother’s charm and grace and her father’s vigor and sturdy acumen.

THE REGION BELLS- Hailing from Cat Island, this group exploded onto the gospel stage and took their eminence to higher levels in acapella.

IRA STORR- San Salvador’s proudest son. “Is this a Party or What?”.

JOHNNY KEMP- “Friday Evening Just Got Paid” and Johnny Kemp from his music performing days as a kid at the Government High School inspired Bahamian youths to follow their dream and career in entertainment. BERKLEY VAN BRYD (d) Gone too soon but with a body of work and a voice which distinguished Theophilus Coakley and the T Connections and their international walk of fame.

SWEET EMILY- A turn to gospel after a marvelous career in calypso, rake n’scrape and goombay, making her one of the most recognizable entertainment names in the country. THE BBC SINGERS- Led by the late David Strachan also of Cat Island, this Acapella group provided social and religious commentary in their fare. ANTHONY LOVELY KNOWLES- The youthful pioneer of Bahamian rake and scrape and Jamaican reggae mix.

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FRED FERGUSON

PAT ROLLE- The fine dining room voice of The Bahamas, from the Lyford Cay Club, Resorts International and Atlantis. GARY DAVIS- His group, “The Vendors” put Bimini on the music map and sent hundreds looking for “Rasha” to make their wedding gown. FRED FERGUSON-The Artful Composer whose talent and contribution will be felt for many more years. CEDRIC MUNNINGS- The promoter and producer; who put capitol behind many artists in the studio and developed several night clubs to provide a working environment for Bahamian entertainers. ERIC MINNS -His pen gave us “ I Want A Fox hill Gal When I Get Lonely” amongst other hits.

ERIC MINNS

RITCHIE DELAMORE(d) “Lemon Tree Very Pretty”, was his signature song and in his last days he headlined at a small night club outside Miami Beach where hundreds came to enjoy the classic calypsos and Belafonte hits sang as only Ritchie could. FUNKY D- A fixture on the Bahamian Cultural scene and a prolific song writer. a dynamo on stage. BRAD LUNDY (d) The Andros Jerry Butler. A horrific hit and run traffic accident claimed his life last year on a highway just a stone’s throw from his residence in Nassau. ABBY LAFLEUR -Geneive Sherman, stage named Abby LaFleur hailed from South Andros and she took her dancing routinue around the world.

RITCHIE DELAMORE

FUNKY D

MARK GATES- The entire Bahamas grew up on the Voice of Mr. Gates leading the inspiration at Central Gospel Chapel and the stirring melodies of his church.

ELVA RUSSEL ROLLE- Another radio pioneer who did not have to hide behind the racy stories of bad boy and girl American artists, but with a level head entertained the nation.

ANDREW CURRY (d)- The musician’s musician and a distinguished Educator from the Catholic system. Many of today’s Bahamian greats owe their pupilage to him and his leadership of several choral groups.

THE VISIONAIRES-The contemporary gospel band famous for Myles Munroe, leader of BFM on guitar bass and their ageless gospel hit, “Living With Jesus On The Other Side.”

DIOCESAN CHORALE The Christmas season is not the same without the traditional performance of the Chorale and its steady and much applauded assortment of hymns and songs.

BROTHER BARRY -Another radio producer whose show headlined gospel artists and inspired new works and new ranges in the genre.

SOULFUL GROOVERS-A name change and yet this band seems to be re-energized again and has been on the Bahamian scene for over 40 years.

PATRICE FLOWERS LOCKHART-Another premiere Bahamian fashion designer. GENO D -Eugene Davis has a number of super hits but his ode to Sir Lynden Pindling, Father of the Nation will live forever.

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contribution chievements

PATRICIA GLINTON - MIERCHOLAS

TEREZ HEPBURN (d) “Bus Driver” and this Government High School girl could move her body like salt n’ pepper in a shaker. She lent her voice to the return of the PLP to governance in 2002 when she crooned “A Fresh Wind Is Blowing” – the chorus which came out of a Bishop Neil Ellis sermon. PATRICIA GLINTON MIERCHOLAS- Her work makes us more aware of our roots and culture and the language we call Bahamian. THEODORE ELLIOT- The world has met and fallen in love with Mr. Theodore Sealey, a fashion designer who began his craft at the age of 8 making clothes for his sister’s dolls. DEIDRE TURNQUEST- Her designs have been retailed at Neiman Marcus.

TEREZ HEPBURN

THE COOLING WATERS Led for many years by Reverend Washington Williams out of Grand Bahama, for more than fifty years this has been the premiere gospel band of the nation. ANDREW AITKEN SENIOR Mr. Aitken brought a new perspective to studio photography in this country and his lens has captured every aspect of our culture and people. He is also to be credited with investing in the technology and equipment to maintain first world standards in production in our country. VERNAL SANDS- His Bristo Club in the late 1970s laid down the law on the disco craze that was sweeping the music industry. A treasured icon of the hospitality industry and acknowledged international Goodwill Ambassador for the Bahamas.

THEODORE ELLIOT

BRIAN SHERMAN (d) Gone too soon. But at the age of 21 his fashion designs were turning heads in Europe and North America. WAYNE ALBURY (d) – Gone too soon. His developed as a Milner and his hat designs for Women set off a trend in the Bahamas. JEAN CLIVE PUGH (d) He took to the stage and brought modeling to the forefront as a decent craft where Bahamians could earn a good living if they prepared and trained properly for the professionalism required. DR. CLIFFORD HUMES- His “Bahama Wave” was patented at the Library of Congress. A boy wonder of cosmotology. His direction caused men to acquire new interest in grooming

VERNAL SANDS

PHILIP HANNA- The Abstract artist the world is just discovering. JEFF ST. JOHN-Fashion designer of the early 1970s who kept the lantern burning for their craft. MISS EMILY COOPER BLUE BEE BAR – Situated on tiny Green Turtle Cay Abaco, she created the drink, “Goombay Smash”. MAX TAYLOR- A collection of work which is found in prestigious galleries and personal collections all over the world. DR. OFF aka Tyrone Fritzgerald Sr.(d) The timeless call to national service shall forever be contained in his classic, “Get Involved.”

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contribution e h t g in d n e m om gnizing and c o c e R , g in t u l Sa chievements A ir e h t r o f s t Cultural Artis

PAT RAHMING

MAX TAYLOR

PAT RAHMING-He captured moments in our national psyche and culture in his music. A celebrated Architect, his music gave us “The Race Track Song”. “When Mwale was King”, “All In A Package Deal” and the classic “When Bain Town Woman Catch Afire… Even The Devil Run”. His body of work also includes nonfiction. OSWALD GREENSLADE – The Bartender’s Bartender who has written a tome on his craft and continues to influence style and professionalism to others interested in the craft. SISTER RACHEL MACKEY – The grand Gospel Songstress of Andros. PALZY DENNIS (d)- A sculptor and artist , also known for crafting the “hand” which became the symbol of a political organization.

KIRK CATALANO

MAE MORTON CURRY – Another major pioneer in the beauty culture trend which developed in the late 1970s and today has mushroomed into a solid industry. DR. VIENNA CLARKE – Another instructor in beauty culture who set the standard and the patent for the Bahamas and scores of students passed through her hands. She distinguished the drive for international qualifications for Bahamian practioneers at the National Beauty Culture League in Washington DC. DR. BERNADETTE BUNNY JOHNSON BURROWS – Her Beauty Rama enterprise gave women a new confidence in hair styling. DR. IDA SYMONETTE – For many years the chief instructor in Barbering at BTVI and one of the organizers of the Bahamas’s affiliation with international groups .

PAT MORTIMER

SWEET RICHARD – Hailing from Long Island he took a liking to plays and concerts at an early age and when he came to Nassau as a teenager he found escape in nightclubs like The Silver Slipper and Paul Meeres’ club where he danced the Limbo, becoming one of the dance forms most colourful and prolific performers. PAT MORTIMER – Pat’s work earend the phrase in fashion in the early 1980s, “Glitz and Glamour” as her IMPACT DESIGNER BOUTIQUE walked away with the top award for several years at the WOMAN trade show, which was produced by Mrs. Joy Williams, the wife of the CEO of the Loews Hotel Paradise Island. Pat’s foray into fashion merchandising saw LIVE MANNEQUINS in her show windows and she introduced sequins and office, evening and night on the town wear.

Bahamian

EDISON “ED” BETHEL

EDISON BETHEL – A most trusted voice in News Broadcasting for over 50 years. DUKE ERROL STRACHANThe founder and creative director of the National Youth Orchestra. PRISCILLA ROLLINS- Independence morning like a baby borning’, ‘Shake the dilly tree dilly drop’, ‘Gotta letter from Miami’; and this Bahamian Diva is immortalized in the culture. KIRK CATALANO – A major trend setter in the world of beauty culture. VERA CHASE – A body of literature enjoyed by primary, junior and senior high school students.

Saluting, Recogniz Cultural Artists foing

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and commendin g the contrib ution r their Achiev ements

MAE MORTON CURRY

MIKE SMITH

NOEL HAMILTON (d) - A store house of knowledge in Classical music and Theatre who’s “Concert Platform” defined Classical music in this country while he showed his other side as a comedian playing in the James Catalyn series. LITHERIA DEAN MILLER- She arrived on the scene in radio programming and quickly carved a niche formatting shows which pushed Bahamian artists and went behind the scenes in the shacks for Junkanoo. GLADSTONE THURSTON – His accuracy in reporting the legal arguments at the historic D’Arcy Ryan citizenship case as well Parliamentary debate in the 70s, 80s and 90s distinguished his work. ATHENA DAMIANOS –A no nonsense fearless reporter whose

IVAN JOHNSON

career spanned almost 25 years capturing the national scene. SABU (d) - His sword swallowing act and fire eating was unique and rarely seen outside of Las Vegas. He also introduced a number of foreign entertainers to the Bahamas, many of whom stayed and trained a cadre of Bahamians in the steel pan, magic and dance. IVAN JOHNSON – The infant terror of politicians in his early Tribune days, who got into a heated on air argument with former Prime Minister Lynden Pindling while taping “Contact” a public affairs show; and as Publisher of the Punch, a bi weekly tabloid has claimed a niche market. THE FALCONS- Hailing from Abaco, they kept the northern Bahamas entranced.

REV. JJ STUBBS

CLUNIS DEVEANEY (d) – The Gentleman Journalist whose career spanned The Bahamian Times, The Nassau Guardian, Bahamas Information Services and ZNS. He got politicians to open up to him when Government seemed too indifferent to the Press. VERN DARVILLE – He brought in depth and acute analysis to his journalism in the Nassau Guardian in the late 70s and 80s, never exposing a personal agenda. MIKE SMITH – The accomplished Anchor of the ZNS National Television News (TV-13) and Broadcast Journalist, now in politics.

Bahamian

ALONZO HOLMES

AL COLLIE - The quintessential businessman of the music industry. The VIPs frame who took entertainment and the nightclub business to the highest levels with The Palace and Luna. OSWALD GREENSLADE- The official Mixology of the country, whose recent book on cocktails and bartendering is a classic. VISAGE- Obi Pindling put this band together in the early 1980s and today they are equaled by few in the region and in a class all by themselves in the Bahamas as El Numero Uno.

PRINCESS HANNA- The Diva of the Models. SABRINA FRANCIS-Another Bahamian Fashion Designer Diva. VISAGE

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Shake Up the Culture for our new journey to an uncensored Cultural Future

Rowena Poitier Director of â&#x20AC;&#x153;The Vagina Monologuesâ&#x20AC;?

ulture can be defined as an intricate fusion of any number of socially expressed components of human interaction within a particular region, throughout a given era. While its expression can vary immensely between modest and grandiose, culture can be expressed and experienced through a variety of outlets including visual and performance arts, written and verbal language, music, sexuality, religion, folklore, dance, fashion and cuisine. Furthermore, Culture assists in the continuity of social norms, standards and ideologies that serve to foster unity, integrity and strength within communities and countries the world over. Unfortunately, Culture (by way of tradition), has been known to place detrimental barricades on the forward progression of society and the way in which individuals express themselves through the very constituents of culture (art, sexuality, religion etc.).

Culture, I believe should serve as a catalyst to propel the youth of a nation into a productive and prosperous future through being themselves freely, artistically and unapologetically while linking them to those figures and events that have laid the foundation for them to enjoy and explore a world that allows them to be who they are authentically, without fear of judgment. This fight is not a new one: no, it is a constant one that has evolved

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and continues to do so. From slavery and civil rights, to the women’s suffrage movement, majority rule and the march to independence, The Bahamas is no stranger to movements for positive change or rallies to impact and modify the structure and mindset of our society and those at its apex. So, the questions now stand: Why hasn’t there been a significant artistic or cultural awareness movement? Are Bahamians even remotely interested in reviving the arts and cultural industries in The Bahamas beyond the annual Junkanoo Festivals? Is anyone listening? If so, what’s being done to ensure the resuscitation and subsequent survival of a potentially lucrative and enriching industry? Admittedly, I do not have all of the answers, nor do I pretend to. Rather, I present myself as a representative of those impassioned individuals who share my vision of a Bahamas that offers so much more than sun, sand and sea to our millions of yearly visitors; a Bahamas that showcases our talents beyond our backyards and private resting places to an international audience that holds us to a globally equal standard of entertainment and artistic expression. Yes, there are courses in both public and private schools that promote creativity and the enhancement of natural artistic talent and yes, there are organizations such as The National Centre for The Perform-

ing Arts, The Bahamas National Youth Choir and Bahamas Artist Movement (BAM) that open their doors to countless aspiring talents including musicians, actors, singers, comedians, writers and so many more each year. But what then happens to these artists when their training is done? How are they to eat, pay bills and survive in a society that does not reward their hours of hard work and dedication? How are they to compete in an economy that doesn’t recognize their college degrees, workshop diplomas and certifications beyond the scope of wedding receptions and small-scale local events at bars and pubs where they are paid in pennies and libations to entertain for hours on end while their foreign counterparts make thousands on appearance? Could it be that we as a people simply prefer the notoriety and acclaim of international superstars or do we believe that our own minds and talents are inferior to those heard on vinyl and seen on glass screens? Whatever the reason, our stance remains: we as artists see the need for an artistic revolution in The Bahamas and The Caribbean at large. We want to be able to comfortably sustain ourselves by doing exactly what it is that we love as our primary source of income. Think about it: how many vocal artists, musicians or actors do you know personally that work no other jobs to make ends meet? Yes, there are struggling actors in the Americas

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and yes, they do have a market for those individuals.

artist, as well as my past experiences both academically and socially.

But that then begs the crucial question of why can’t we? Is government intervention necessary or can it be done independently? Government intervention and/or independent or private investment in the arts and entertainment industry of The Bahamas would both yield the same positive result over time. Such an initiative by either party would not only put our culture to the forefront, but also serve as an outlet for our youth to express themselves positively while facilitating an exponential boost in our country’s economy and tourism industry.

My name is Rowena Poitier and I am a Bahamian from the island of Grand Bahama. I am an artist, an adoptive mother, a sister and smile-wearing force to be reckoned with. I am a believer in the healing power of laughter and I am living proof of how powerfully the arts can impact a country, a community and a person. Locally, I have attended the St. Andrews International School and St. Anne’s Anglican High School, later moving forward to Adelphi University where I attained a Bachelor of Fine Arts Degree and graduated cum laude before proudly earning a Master in Fine Arts Degree from California State University.

By Rowena Poitier

While I do acknowledge that we as a young nation are a far cry away from entertainment meccas like Time Square in New York City, London ballets, the flashing neon lights of Tokyo, Japan or the quiet-yet-compelling ambience of the Champs-Élysées in Paris, I do believe in our potential as artists. Before I delve too deeply into my ultimate purpose for this article and my long-term vision for the arts and entertainment industry of The Bahamas, I wish to formally introduce myself and provide a brief synopsis of my professional career as an

cont’d on next page

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Shake Up the Culture for our new journey to an uncensored Cultural Future Socially, I have worked with organizations such as The East Los Angeles Art Therapy to end gang violence and Social Theatre to raise awareness of various social issues including child sex slavery. At home, in The Bahamas, I have rendered my services, experiences and talent to my brainchild BAM (Bahamas Artist Movement). We have produced events benefiting The Bahamas Crisis Centre and other various community initiatives, including the immensely successful production of “The Vagina Monologues” which was produced for the first time in The Bahamas, marking the event’s fifteen year anniversary. Internationally, I have performed in over fifty plays: off-Broadway in New York City, Los Angeles, North Carolina and London and I’ve been blessed to have worked with several world-renowned companies including Steppenwolf Theatre Company training under the renowned Jeff Perry of ABC’s hit shows Greys Anatomy and Scandal,

Geffen Playhouse, Trubadors and Theatricum Bontanicum. I wholeheartedly believe that the establishment of a significant arts industry in The Bahamas will lead to a major increase in the tourism industry and in turn, an exponential proliferation in our economy. As it stands, today, our annual 1.5 million stopover visitors and 3.5 million cruise ship visitors enjoy various amenities and attractions around the nation’s capital including the world-famous straw market, commercialized white sand beaches, duty free liquor, authentic Bahamian cuisine, museums and historical landmarks. While the previous activities have all been staples of the traditional Bahamas vacation experience, they leave more to be desired, especially if we are to compete and attain the top spot as the number one tourist destination in the region. This is where our prospec-

tive arts and entertainment industry will take full advantage of the vacancies left in the itineraries of tourists once the 9-5 businesses of downtown Nassau have closed their doors to the public. Think about it: an entire strip would reawaken amidst the solitude and silence of moonlit Bay Street. Complete with uniquely Bahamian theatrical productions, live music and entertainment, fashion shows, cultural exposés, art exhibitions and art-based charity events, tourists will be immersed head-first into everything that the Bahamas’ brightest artistic minds have to offer. Bearing in mind the country’s current dilemma in this regard (lack of support for the arts), one might be prompted to ask, “But how exactly are we to achieve this goal? Is this even possible?” Well, as I said previously,

government or private support and sponsorship would take us a long, long way in this battle to breathe life back into the lungs of our arts and entertainment industry. However, let’s not overlook a crucial component of this initiative: young, vibrant minds and talents along with seasoned veterans of the industry. You see, the point is to not to create an industry that looks down upon the young and ‘inexperienced’ artists that ache for their “big break”, but to foster their steady progression in the field; training them and guiding them along their journey to become world class performers, artists and entertainers. Through the use of arts education, community interaction, charity performances and acting workshops, Bahamas Artist Movement (BAM) strives to be that long-awaited outlet for authentic self-expression that the youth of The Bahamas have been deprived

of for generations. BAM is a unique organization in the Bahamas, whose goals are to not only revive the arts and entertainment industry, but also to give back to the community through the use of charity events that showcase a range of theatrical and artistic talents. Our mission is to serve the Bahamas through artistic, socially-conscious theatrical productions and educational programs. We create performances that explore and critique social issues and that actively engage our audience. You see, we as an organization of artists want not to simply ‘exist’ but to spark a positive change within our society. BAM aims to operate as an environment for the exchange of ideas and open discussion. We also offer professional training for passionate artists through classes and performance opportunities. We seek to continuously ignite a celebration of the arts in the Bahamas and thus establish a nationally

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and internationally recognized artistic centre. There is currently no established theatre company doing regular programming, and arts education is limited to the most expensive private schools. Consequently our children, teens, and adults lack a creative outlet for artistic expression. With youth crime rates escalating, the need for an organization like BAM becomes ever more apparent. The Bahamas needs a place like Bahamas Artist Movement to nurture our youth and our community, where we can create and express ourselves, and where the issues affecting our country can be addressed. Having been founded in 2012, BAM is a new company. This however, has not stood in the way of BAM making a substantial impact on communities throughout the capital of The Bahamas in just over two years of existence. In our first year, we successfully established our educational component, offering acting classes to teens and adults, and mounted three theatrical productions.

Our first initiative brought improvised theatre to Englerston Park with Theatre in the Park. Our crowning accomplishment was the benefit reading of “The Vagina Monologues” in conjunction with V-Day, the global activist movement to end violence against women and girls. Our sold-out performance was the first time the Bahamas participated in V-Day. In keeping with our commitment to addressing social issues in the Bahamas through art, we partnered with The Bahamas Crisis Centre for this production to raise funds for the Centre and awareness of domestic abuse, rape, and incest in the Bahamas. BAM’s third endeavour expanded the Little BAM BAMs Children’s Theatre, our family performance and youth education component, designed for children ages 6yrs-12yrs. The Little Bam Bams performed “Pete the Pint-Sized Pirate”, about the environment and recycling. About 100 children attended the performance, which also included face-painting and a Cirque du Soleil-style BAM original performance piece. Again, we partnered with a relevant

charity (Cans for Kids) for the production. Cans for Kids is a charity focused on using recycling proceeds to fund children’s programmes, and audience members filled two large drums of cans to be recycled for the charity. Since the success of this performance, we now run Little BAM BAM classes every week at the New Providence Community Centre. I am ever cognizant of the community opposition and rebuttals of the naysayers that meet me at my doorstep daily. Additionally, I have taken into consideration the opinions of the masses that may view my initiative as ‘unnecessary’ or another untouchable dream that will never come to fruition. In fact, I welcome the criticism because I have seen with my own eyes and felt with this still-beating heart the impact that a consistent outlet for self-expression can have on children, teens and adults who have a passion for the arts. Further, I have witnessed gang members dismantle their grudges and agree to a permanent ceasefire of words and ammunition.

My vision is to spark the same movement in The Bahamas with time. I envision reaching out to those that everyone else has already counted out, providing an avenue for these young men and women to not only express themselves but obtain personal guidance, emotional healing and rehabilitation that would steer them into a brighter future or at least equip them with the tools to build on themselves. The aforementioned mission in itself stands boldly and firmly as a testament of the necessity to not only invests in the arts and entertainment industry but to do so with an open mind, allowing the participants to express themselves openly , honestly and authentically; without fear of judgment or censorship. Culture, the very expression of who we are as a people through the use of visual and performance arts, written and verbal language, music, sexuality, religion, folklore, dance, fashion and cuisine should be raw and authentic depictions of our lives. Bahamian culture is a tightly weaved straw basket tightly tucked securely

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between the knees of a proud Androsian woman and stories told in bold accents that roll off of soft tongues with the fluidity of our crystal sea. It is Sidney Poitier on film and Chippie Chipman on drums; Ronnie Butler’s raspy voice and the brightly colored works of Amos Ferguson. Our culture is dance: hypnotic movements of sun kissed bodies in conch style and quadrille. This culture is music: sharp sound of horns, the pang of cowbells and boom of drums in a Junkanoo parade. It is the flavors of 700 islands resting comfortably in one’s belly. Our culture is a performance: Shakespeare in Paradise and the poetic styling of Michael Pintard and Ian Strachan. It is me, Rowena Poitier on a stage, asking you to suspend your belief in the present and come on a journey with me. Our culture is our youth so be not afraid to invest in them. Our culture is evolving so shake it up, shake it and let the winds of change usher us into a brighter, uncensored cultural future.

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BAAM - The Launch Edition

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Uniquely Bahamian!

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BAAM - The Launch Edition

Thursday, May 7, 2015

A Carnival Concert of Junkanoo Orchestras In celebration of the drum, the soul of Junkanoo, the heartbeat of the Bahamian people.

Friday, May 8, 2015

Live Performances by Masters of the Music Universe. The best Bahamian musicians sharing the stage with Grammy Award Winning Artists. Event to be produced by Internationally acclaimed producer

Saturday, May 9, 2015

The Main Masquerade An Epic Collage of Culture Costume, Colour on Parade in the Streets of Nassau.

Saturday, May 9, 2015

A Junkanoo Street Rush for the People Your opportunity to feel the rush and participate in sweet, sweet Junkanoo. You need nothing Just Jump in da Line.

The Bahamas National Festival Commission #14 Collins Ave, 2nd floor Nassau, Bahamas Telephone: 1 242 356 2100 Email: info@bahamasfestivalcommission.com