Smith & Benjamin’s ‘BAHAMIAN ART & CULTURE’ Issue No. 243 Sharing Art & Cultural News of The Bahamas for 17 Years • • • • Can’t see the images?


Smith & Benjamin’s
Issue No. 243

Sharing Art & Cultural News
of The Bahamas for 17 Years

• • • •

Can’t see the images? CLICK HERE!

• • • •

“Cowbell Ringer” (1983)
by Bahamian artist R. Brent Malone
Pastel, charcoal, graphite and watercolour on paper | 40 x 32
Collection of Peter and Paula Auberg
• • •
Cowbell Ringer is one of over 250 works created by Malone now on
display at the National Art Gallery of The Bahamas in a magnificent
retrospective exhibition spanning 50 years, entitled “Reincarnation”.


Friday, November 13, 2015


Junkanoo, Bay Street, Nassau, 1951. (Photo courtesy of collection on

Dear Reader,

On a 96.9FM morning talk show last week, it was stated that a plan was in motion to possibly move the Boxing Day and New Year’s Junkanoo parades off Bay Street. This has caused a firestorm on the Facebook group Let’s Talk Junkanoo​.

The suggestion to move Junkanoo off of Bay Street has been floated around on a number of occasions in the past, but this time it seems there is the political will to move the nation’s festival off its historic route. Whether it will happen or not this time around is not certain. But, judging by many of the comments, the Junkanoos are angry. They are speaking of boycotting. They are speaking of war.

Bay Street is sacrosanct to a vast number of Junkanooers. In their minds, Bay Street is where it started, this is where it has always been and this is where it should stay.

But others feel Bay Street is a venue no longer suitable for a national festival that’s ever expanding. Their argument is that it has become too small, too dirty, too challenging with regards to everything from parking, rest rooms, accessibility and security.

There are valid and powerful arguments for both sides of this divide.

A few in the group are trying to reason with those who oppose saying that it needs to move to a larger, more appropriate venue, suggesting that the National Sports Stadium on Thompson Blvd. would be a good alternative. But opponents have knocked that suggestion saying that the Sports Stadium not only doesn’t offer the necessary acoustic attributes that Bay Street offers—that of a long, high-walled corridor required to amplify and project the music—it also is too large and much too spread out from viewers being seated hundreds of yards away from the parade. The music will be swallowed up in the vastness of the open air stadium, the beat of the goat-skinned drums will not resonate in the bones of the spectators and the beauty of the costumes and dancers will be lost from the viewers seated hundreds of yards away.


The Sambodromo in Rio De Janeiro, Brazil's official venue for its Carnival event.


Rendering of the Sambodromo in Rio De Janeiro.

Others suggest that it is high time the government build a 365-day-a-year venue dedicated to Junkanoo similar to the Sambodromo — Rio de Janeiro’s national stadium of Samba and Carnival – a Junkanoo Dome, if you will.

Again, the opponents refute saying that that notion is a pipe dream. Arguing that if the government is barely willing to give several thousand dollars in seed money to Junkanoo groups, they will not have the drive to build a multi-million dollar complex to house the national parade. To bolster their argument, some pointed at the fiasco of the Junkanoo Carnival held earlier this year as further evidence of the government not having the will to support Bahamian culture and Junkanoo but, rather, foreign concepts of culture.

Some are saying this is just “the politicians’ way of saying ‘get ya hip off of Bay’ by wielding the power of ‘the house negro police’ to enforce this move.

Some are saying this a concerted effort to further deconstruct Junkanoo to establish and promote the “impostor” Carnival for which “they wasted and stole money for” earlier in the year.

Some are saying we should merge Culture in Tourism since Tourism “has all the money anyway” and they would be best suited to market and manage Junkanoo.

Some are saying that we should bear with government leaders as they need to be “taught the value of their culture.”

But I submit, haven’t we been teaching? Haven’t we been trying to get them to understand the value of who we are? Haven’t there been enough “teachable moments”?

All you need to do is talk to James Catalyn, Dr. Nicolette Bethel, Pamela Burnside, and many others. Didn’t cultural giants Edmund Moxey and Jackson Burnside try to get them to understand? How many generations have to pass before they ‘get it’?

If they don’t know by now, I am hard pressed to believe they will ever get it. Even children involved in Junkanoo know that Junkanoo is valuable. Ask the child musicians in the Rhythm ‘n’ Youth Rake ‘n’ Scrape Band.


“black crab pledge of allegiance” by Dionne Benjamin-Smith / 41” x 29” / 2004 / Digital Media on Watercolour Paper (Part of The Bahamian Flag Series) / The National Collection of The Bahamas, National Art Gallery of The Bahamas

Culture can not merge into Tourism
With regards to the merging of Culture into the Ministry of Tourism, I say an unequivocal no. Culture is not a product to be marketed. It is the essence and truth of a people that is to be shared, not commodified. Our culture is far too precious to continually be thrown around in the offices of NY ad agencies.

As a culturalist and culture-maker for over 24 years, I am sorry to say that I have seen how the machine that is Tourism has watered down our culture to an almost unrecognizable homogenous hybrid of things Caribbean, American and maybe a little Bahamian, much like some hotel food that has been stripped down and made “suitable” for the palates of foreigners.

I remember with humour, the time I was asked by Tourism officials to explain my artwork to a visiting travel writer from the NY Times who was visiting the National Art Gallery of The Bahamas with her daughter who aspired to become an artist. We talked for a good while about art schools and what her daughter wanted to study. She was especially impressed that so many Bahamians had attended top notch art schools, particularly my alma mater – the Rhode Island School of Design.

We walked and talked, with the Tourism officials walking several steps behind. As we approached my piece in the Gallery, I wondered to myself if the Ministry officials knew what they were doing when they asked me to share my work. Surely, they wouldn’t want me to explain my brand of artwork, often described as “biting social commentary”. Pretty and touristic, it is not.

As I described the inspiration behind my piece entitled “Black Crabs Pledge of Allegiance”, I could see the faces of the Ministry officials standing behind the travel writer begin to fall; then their eyes widened in horror. They began to frantically wave their hands and silently mouth, “Nooooo! Stoppppp!” Once I had finished, they quickly ferried the writer away from me to more sunny depictions of our fair Bahamaland. Needless to say, they never asked me to explain my work again.

This experience, along with Bahamas Junkanoo Carnival and many others, showed me how our culture can not be placed solely in the hands of the Ministry of Tourism. Bahamian culture needs its own space, its own direction, its own Ministry; not tacked onto an industry that is sputtering, dying for new energy and desperately in need of restructuring itself.

What Junkanoo and Bahamian culture need at this point is not another array of citizens begging and pleading for its validation but only receiving mere crumbs to sustain its existence. Enough of the closed eyes and the hardened mindsets; time for visionaries with expanded thought.

A Junkanoo Dome?
The idea of a dedicated “Junkanoo Dome” is possibly an idea whose time has come. It is full of possibility and potential. Junkanoo, much like Carnival, started in the streets of the city, and as Carnival’s caretakers have evolved and developed their cultural festival, so should we.

A structure specifically designed and built to house Junkanoo fills one with exciting thoughts of Junkanoo studios where groups work and build all year round, a vast museum that teaches the history of Bahamian Culture and Junkanoo, gives home to past Junkanoo costumes and where Goombay and Junkanoo music plays 24/7, where there are stores and eateries selling native art, craft and cuisine, where there are classrooms teaching Bahamians and visitors alike how to create Junkanoo, and at the centre of it all is the thoroughfare, the runway, the promenade where the festival and the spectacle of Junkanoo can be seen, heard and felt by those who have come to witness it for the vibrant sparkling thing that it is and can ultimately be.

I know Junkanoo isn’t perfect, but it is ours and ours alone. And as best we can, we need to invest in its growth, development and improvement, not relegate it to pittances of seed money or shove it to the outskirts of town in an unsuitable venue like some bastard child of whom you want no part.

Until such time as a suitable venue is built, Junkanoo probably shouldn’t have to move off Bay Street. Until such time we get a Junkanoo Dome, Bay Street needs to be re-imagined or restructured somehow to not only make way for a smart and revitalized Junkanoo, but to bring the grand dame of our city centre up to a platinum standard.

So, no. There is no more time for trying to teach an old dog something they should know already. They have been talked to, preached at, encouraged, cajoled, and prodded. They have been led to the well time and time again, but they will not drink the water. They have proven to be what they call themselves, “cultural philistines”.

Your thoughts?

Dionne Benjamin-Smith
Editor and Publisher
Smith & Benjamin Bahamian Art & Culture


what’s happening in
bahamian art & culture



Allan Murray’s Book Launch: “The Colourful History of The Bahamas”

Sunday, November 15th, 2015 | 3–6pm
Doongalik Studios, Village Road

Colorful History Evite Draft

Doongalik Studios will host the book launch of Allan Murray’s book The Colourful History of The Bahamas: A Souvenir Guide for Visitors on Sunday, November 15 from 3-6pm.

The Colourful History of The Bahamas offers no new history but rather an introduction to many of the interesting characters who have come to the islands in years gone by. With 34 pages and short explanatory text, it is filled with more than 80 illustrations from the past and the present and will be an added bonus to the millions of visitors who come to The Bahamas each year.

At the launch, when Murray will be available to sign his book, some of the book’s illustrations will be on display as well as a power point presentation which will be followed up later this month with an evening Author’s Talk along with a more extensive powerpoint presentation.

For more information, please contact the Gallery at 394-1886. Gallery hours are Monday–Wednesday from 10am–4pm.

CLICK HERE for Doongalik Studio’s Facebook page.



Book Launch and Panel Discussion

Friday, November 20th, 2015
The National Art Gallery of The Bahamas

Book Presentation by Angelique V. Nixon
Panel Discussion with John Cox, Erin Greene and Keithley Woolward
Moderated by Nicolette Bethel

How do we live & imagine in “paradise”? What is the relationship between tourism and culture? How do gender, race, and sexual labour intersect in this relationship? What are the (social and economic) costs of producing “paradise”? How does tourism affect our identity? Can “Art Tourism” (locally led) be a viable and more ethical model of tourism? What are sites of rebellion and freedom? We will engage in vibrant exchange about these questions and more. The public is welcomed to attend.

CLICK HERE for the event’s Facebook page.


E X H I B I T I O N :

“Hands are for Seeing”
A Road to Jericho Project

Saturday, November 21st
Doongalik Studios, Village Road

Bahamian artist’s personal challenge inspires project to help special needs kids

The Road to Jericho Project is an organization Bahamian artist and jewellery designer Xan Xi Bethel founded soon after she found that her 8 week old son had developed retinal detachment and had become blind. The organization is geared toward raising funds and resources for blind and other special needs children in The Bahamas.

Their first event will be an art exhibition entitled “Hands are for Seeing” scheduled to open on Saturday, November 21st at Doongalik Studios Art Gallery at #20 Village Road, Nassau from 6–9pm.

Participating artists have been asked to create work with the blind in mind. The artists will create a 4D art experience, going beyond the aesthetic and building on the tactile. No more ‘DO NOT TOUCH THE ART’ signs. Rather, ‘PLEASE, TOUCH THE ART!’

For more information, please contact Xan-Xi Bethel at or at (242) 552-2127.

CLICK HEREfor the “Hands are for Seeing” event page.


E X H I B I T I O N :

Princess Street Gallery presents:
Fall 2015 Exhibition

Wednesday, November 25th | 6–8pm
Princess Street Gallery, Harbour Island

Featuring new works of paintings, collages and jewellery by artists Sue Katz-Lightbourn, Daniel Caldwell, Evelyne Drouot-Wassman and Kim Riedel.


"Galvanized" by Malcolm Regnard.

E X H I B I T I O N :

‘Embracing the Void’–
An Exhibition of Fine Artwork

Friday, November 27th | 6–9pm
Liquid Courage Gallery, 19 Patton Street, Palmdale

‘Embracing the Void’ is an exhibition of fine artwork featuring abstract and photorealistic works in oil and acrylic by resident local artist Malcolm Regnard. On display will also be select works by Maritza Tynes. The exhibition opens with a reception at the Liquid Courage Gallery, 19 Patton Street, Palmdale on on the evening of Friday, November 27th from 6–9pm. The public is invited to attend. For more information, please call (242) 322-2202 or email

CLICK HERE to view more of Malcolm & Maritza’s work.
CLICK HERE to visit Liquid Courage Gallery’s website.

Don tHurtUs

"Don't Hurt Us" by Malcolm Tynes


art and culture news
from the bahamas

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Richardo Barrett shares his knowledge of marketing skills as an illustrator and commercial artist with a COB art student.

The business of doing art

COB students get insight on marketing themselves

by The NAGB

It’s a hobby, a method of therapy and a way to keep students occupied after school. For many Bahamians, art isn’t a job. This mentality persists despite the active and sustained local art community that has been making waves in recent times.

While the business of doing art and making a living from it is something many emerging artists are novices at, the College of The Bahamas (COB) is doing its best to show them the ropes early on.

Commercial art, a class taught by Keisha Oliver, is offered to art majors who are interested in learning to use creative talents in a mainstream market. The class incorporates illustration, graphic design and screen-printing. NAGB Assistant Curator Richardo Barrett, a multimedia artist, joined the class this week to give a talk on illustration.

Barrett’s work is easily identified by its fanciful subject matter. The artist is known for incorporating recycled materials and bright colors into mixed media pieces.

After graduating from COB, Barrett was self-employed and supported himself by taking on commissioned work as an illustrator and graphic designer. His ability to market himself and his talents is part of why he was asked to give a talk. […]

CLICK HERE for the full article in The Nassau Guardian.

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The revamped NAGB Mixed Media shop was unveiled at the opening of R. Brent Malone: Reincarnation on October 24. Photo: NAGB

Another unveiling at the NAGB

by The NAGB

Unveiling R. Brent Malone: Reincarnation on the evening of October 24 drew a crowd at The National Art Gallery of The Bahamas (NAGB). Over 260 works by Brent Malone were sourced from both local collections and ones based overseas. Many of them had never been seen outside of their private homes. Locals from all walks of life came out to see the exhibition of pieces by the man known as “The Father of Bahamian Art”.

There was another opening that night of smaller proportions. The NAGB unveiled its revamped Mixed Media store, which underwent a renovation during the gallery’s temporary closure in preparation for the Brent Malone exhibition.

The initiative was led by one of the NAGB’s most recent team additions – Darchell Henderson.

“It looked touristy before, but we wanted to make sure the store fits the vibe of the gallery and the staff that we have,” she explained. “Our staff is young and hip; and even though it’s an older building, we want to give it a modern look.”

The facelift had been years in the making. NAGB Director Amanda Coulson hoped that someone with an eye for design would take charge of the project. In September, Henderson joined the gallery as the registrar and education officer trainee. With experience in merchandising and store management under her belt, Henderson saw the gallery’s three-week closure as an opportunity to put her skills to use. [...]

CLICK HERE for the full article in The Nassau Guardian.


Tru-Tru Bahamian Festival deemed a success

Officials of the Bahamas Hotel Tourism Association (BHTA) are calling this past weekend’s Tru-Tru Bahamian Festival a success after hundreds attended the inaugural celebration held at John Watling’s Distillery.

The event, which was sponsored by the Bahamas Ministry of Tourism, was a depiction of Charlestown and gave locals and tourists a glimpse of what Old Nassau was like.

It featured artisans, food vendors, a kiddie corner and Bahamian musicians and entertainers. Minister of Tourism the Hon. Obie Wilchcombe said he was pleased with the event.

“This is very special because ‘Tru Tru’ as it is defined now speaks to who we are as Bahamians. We tell The Bahamas all the time that ‘It is better in The Bahamas’ is more than just a slogan. The truth is it is better in The Bahamas because our food is better, our music is better and our people are better,” he said. […]

CLICK HERE for the full article in Tourism Today.

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Photo from the Tru-Tru Bahamian Festival


SURFACE PREPARATION - C. I. Gibson seniors, Shaquelle Taylor, Fabian Shepherd and Marchario McDonald are hard at work preparing surfaces for painting. The students attend BTVI twice per week as part of a dual enrollment program.

BTVI introduces high schoolers to painting and decorating

By Hadassah Hall

C. I. Gibson 12th graders Daniel Smith (l) and Devonta Rolle pay close attention to BTVI painting and decorating instructor, David Barry during a lesson. The students have been chosen for a dual enrollment program that has introduced them to the art of painting, while strengthening their Math and English skills.

Daniel Smith is determined to not become a grim statistic. He is making an effort to change his outlook on life and specifically education. The 16-year-old is one of 11 senior students from C. I. Gibson Senior High School, chosen to participate in a dual enrollment program at The Bahamas Technical and Vocational Institution (BTVI).

The 10 boys and one girl are being exposed to the art of painting for fall 2015 and spring 2016. The three classes include Introduction to Painting along with Math and English two days per week.

For Daniel, the trip to BTVI is a sacrifice, as he is a Kemp Road resident who is accustomed to walking to his nearby school on Marathon Road. Furthermore, his classes at BTVI begin at 8 am - an hour earlier than the start of classes for public school students. It means rising earlier than normal to be on time, in addition to catching the bus to and from BTVI twice per week. But for Daniel, it’s all worth it. […]

CLICK HERE for more in The Bahamas Weekly.

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From left are the Camperdown Plant Ladies, Cindy Wilde, Sarah Lobosky, Joanna Robertson and Alison Albury.

‘Camperdown Plant Ladies’ hosting plant sale

Just ask the Camperdown Plant Ladies. They know all about how to be patient. Taking a seed or seedling through to its maturity can be an arduous task. Watering, weeding and waiting are the three Ws that are the mainstay ingredients in growing plants – and that’s what happens around Camperdown.

Sarah Lobosky, Alison Albury, Joanna Robertson and Cindy Wilde have been growing plants for a long time. You can tell by their gardens that they subscribe to the three Ws – and the result has been their astounding array of plants that will be available at the Seventh Annual Camperdown Plant Sale on Saturday from 9 a.m. to noon in Lobosky’s garden on Sour Sop Street, Camperdown.

A wonderful assortment of plants will be on sale at reasonable prices. There will be orchids, palms, ferns, bromeliads, addeniums and many other varieties of plants for purchase.

“There will even be $5 and $10 tables for those on a restricted budget, so nobody needs to leave empty-handed,” said the Camperdown Plant Ladies. […]

CLICK HERE for the full article in The Nassau Guardian.


art news from the region
and around the world

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Work by Monica Ferreras De la Maza, 2015.

Caribbean Connections – Circuits of Experiences and Memories

Multiple Spacings in Bern, Switzerland presents the first edition of Caribbean Connections, an itinerant group exhibition of artists from the Davidoff Art Residency Program – Dominican Republic, with a solo presentation of the artist Mónica Ferreras De la Maza. The show opened on Wednesday, November 11, 2015.

Subtitled ‘Connections – Circuits of Experiences and Memories’, the artist shows paintings and drawings that reflect on the artist’s concept of memory as a reconstruction of experiences. The artist’s focus is on how the mind travels to link past experiences to present experiences and different experiences with one another, and how, through these processes, fragments are woven together to create a novel re-collection and another truth, such that the artist is able to recognize and understand situations from all moments of her life.

In gathering the memories of past experiences and linking these to present experiences, the works of Mónica Ferreras De la Maza function as a complex diary where experiences are gathered, remembered, and linked before being transformed into organic “bubble” forms. […]

CLICK HERE for the full article in ARC Magazine.

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Work by Monica Ferreras De la Maza, 2015.


(Photo credit: Kickstarter)

Cuba’s first folkloric & electronic music festival is bound to make history

Tony Centeno shares through Vibe Media that the Cuban government has green-lighted the island’s first major music festival. Cuban rapper Alaine Garcia Artola along with his friends Harry Follett and Jenner del Vecchio are set to make una revolución musical a dream come true with the inaugural MANANA Festival. The two-day event to be held in Santiago de Cuba would help preserve the traditional roots of Cuban music and support the local artists who work to keep it a living tradition. There is currently a Kickstarter campaign in effect to make this a reality.

The plan is to create an environment for a cultural and musical exchange, while exposing new and hopefully younger audiences to the music. As political relations between the United States and the Caribbean nation improve, young artists are fueling the fire for a musical revolution. The non-profit fest may incite political and social change, but will work hard to maintain Cuba’s traditional music, especially rumba. […]

CLICK HERE for more in ARC Magazine.


Robert Pruitt “Your Altitude Determines Your Attitude” (Jet Pack Piece), 2015 Koplin Del Rio

Juxtaposing African culture and space objects, Robert Pruitt envisions a post-racial society

Robert Pruitt’s drawings abound with the artist’s signature, intriguing mix of African culture, science fiction, comic books, politics, and art history. An accomplished draughtsman, he layers these references to create a powerful message about race in modern America.

In “Flight Risk,” his latest exhibition at Koplin Del Rio, Pruitt delves deep into the Afrofuturism movement, continuing his exploration of identity through black portraiture. A co-founder of the Houston-based, black radical art collective Otabenga Jones & Associates, Pruitt intends his drawings to be a place where the constraints of society are forgotten. “The predicament of race in this country is so limiting,” he said in a talk about identity last year at the Virginia Museum of Fine Arts, where his work hangs. “I am interested in what happens when those things don’t exist, and specifically, I’m wondering what do black people look like in the future without those limitations.” In the vision that pours out of his imagination, these future beings employ jetpacks and space helmets—accessories that allude to escape, the unknown, and the hunt for limitless space. […]

CLICK HERE for more on Artsy’s website.


Robert Pruitt “I Need a Vacation from this Vacation”, 2015 Koplin Del Rio


Robert Pruitt “Captain America”, 2015 Koplin Del Rio


Still Life, 17th century, Paul Liegeois. Oil on canvas, 29 x 38 3/8 in. Norton Simon Art Foundation, M.1979.49.P.

The accidental colour that changed the course of art

by John Griswold

True blue, royal blue, ultramarine: During the Renaissance, these were all names for the most prized of all pigments, lazurite, derived from the semiprecious mineral lapis lazuli. Mined and processed since the sixth century almost exclusively in Afghanistan, and imported to European markets through Venice, it was worth more than five times its weight in gold. It was used sparingly, often reserved for the richest patrons by the most prosperous artists.

Look at this sumptuous still life, for example, painted in mid-17th-century Paris by Paul Liegeois, which features his signature royal blue drapery. He achieved the effect with thin glazes of ultramarine oil paint applied over a layer that was highlighted with white lead. When light penetrates the thin blue glaze, the white reflects it back, intensifying a deep blue hue.

We often take for granted the dazzling range of colors in old oil paintings as we stroll through an art museum. Early Renaissance panels are full of jewel-like shades. Mannerists like Bronzino used shocking, acidic color combinations as they stretched the limits of naturalistic representation. Grand Baroque era artists, like Caravaggio, set vivid hues against dramatic dark shadows. In truth, these colors were hard-won. Time-tested, layer-by-layer techniques were required to ensure that a limited range of natural colors would maximize their visual impact. Creating a colorful oil painting was not yet the spontaneous act we envision the likes of Monet performing as he captured fleeting light and color effects. […]

CLICK HERE for the full article in The Huffington Post.


open call


Museo Universitario del Chopo with Sebastián Romo, SOMA summer 2015.

Call for Applications

SOMA Summer 2016

SOMA Summer is a unique eight-week program for international artists, curators, critics and art historians, conducted in English in Mexico City. The next edition will take place July 4 – August 5, 2016. SOMA Summer introduces participants to the dynamic art scene of Mexico City through visits to museums, openings, and artists’ studios. The deadline for applications is February 2, 2016.

Designed to promote intense creative work and dialogue, the program is built around a series of seminars and workshops led by renowned Mexican and international artists. Participants meet weekly for individual critiques with a variety of artists and curators, while also engaging in public programs, site visits, and other activities in and around Mexico City.

SOMA is a space for reconsideration and reflection. Each SOMA Summer is organized around a specific conceptual framework and provides a compelling platform for artists who want to critically analyze their work while developing new ideas. We stress the importance of our program content, and would discourage applicants who are primarily looking for a studio-based residency. SOMA facilities offer shared studio spaces, and although labs and workshops are not available, we do provide logistical support for producing work and organizing events within Mexico City. […]

CLICK HERE for more information in ARC Magazine.


Open Call for Works

International Festival of Experimental
Film, Audio and Performance

Strangloscope, Brazil shares an open call for experimental films/videos/audios and performances to be screened at the 8th edition of their international festival, which will take place in Florianópolis. The theme for this call is gender, femininities and women in filming. Submissions should be sent as digital files to by November 15, 2015.

Strangloscope comprises the duo of video/film makers Cláudia Cárdenas and Rafael Schlichting, who donate their time to developing experimental practice and creating an alternative environment in the city of Florianópolis. Learn more on the Strangloscope website here. […]

CLICK HERE for more in ARC Magazine.


about us


Smith & Benjamin’s Bahamian Art & Culture eMagazine

Art & Culture were created to uplift the spirit of mankind.

Bahamian Art & Culture eMagazine is an email magazine concentrating on the art & culture of The Bahamas and the world around us. It is published once a week and is a service of Smith & Benjamin Art & Design, a design firm based in Nassau, The Bahamas offering graphic design, custom illustration, fine art, art marketing, art brokerage and publishing.

Dionne Benjamin-Smith, Editor & Publisher:
Stephanie Shivers, Account & Office Manager:
Don Adderley, Design Associate:

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