Final Project

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Introduction

Art in the Bahamas today is a passionate topic. There are probably as many authoritative

statements about art as there are to artists, writers and observers of art. Yet you would be hard-

pressed to find one that wasn’t paradoxical: for it is the nature of the subject that every single

sincere work of art, whether “good” or bad”, is a highly personal statement emanating from the

individual artist’s soul (Dupuch p30). Artwork has not been a traditional feature of Bahamian

culture, but during the last half century it has become one of the most remarkable and vital forms

of Bahamian creativity, but yet not acclaimed and honored by all the Bahamian people. This is

simply because of the lack of education and training on the subject at hand.

Art is a form of communication and a means of expressing ideas and feelings. Arts and

crafts can complement literature, mathematics and science by developing visual perceptions and

aesthetic experiences and the broadening of cultural horizons. When the sponge industry closed

in the 1940’s, locals searched for another way to make a living. Bahamians started painting and

the women started to decorate, weave and plait dried palm and plant leaves to create baskets,

bags and dolls. Hence, a new element was implemented and introduced to the Bahamian Culture

called “Arts & Crafts”.

There are various types of arts in The Bahamas. The indigenous arts and crafts include

paintings, drawings, straw, wood carving, shell, junkanoo, pottery, quilting, etching, and silk

screen-work. Art has been beneficial to the Bahamas in the teaching of schools, professional

training, and increase in leisure, patronage and growth of a profitable market. The expression of

art helps to identify who we are as a people and what our potential is.Marquel Wallace

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Artists can use an effective system of communication to speak to us across the

boundaries of time and civilizations. Some of the earliest records of human kind are the creative

images found in aboriginal society and cave walls. This is where our source of art originated.

Therefore we bring with us to the art experience, our inherent abilities and past experiences.

These past experiences that seek to build knowledge of a subject. The first Bahamian artist was

a Lucayan, and if anthropologists discover an earlier man here, most certainly art will have

begun with him.

Many Bahamians have an artistic side, which they express through their colorful art,

especially in paintings. The truly nascent Bahamian art is painting. Accomplished painters

suddenly emerged in the 1960’s and multiplied so rapidly that by the 1990’s scarcely a month

went by, it seemed, without a new show displaying yet another remarkable talent. The explosion

was a direct function of the booming of the Bahamian economy: early Bay Street patronage, the

sudden expansion of technical education, the presence of expatriate painter-teachers, and, above

all, the novel existence of a competitive bourgeois market. New canvases were priced by popular

artists high enough to enable them to live by their work. It became a product of a spontaneous

combustion, the sudden excites discovery of a vivid new medium of expression, of latent talents,

and of the way one talent could play off, refine and excel another (Craton and Saunders p483).

The Bahamian painting nascence was truly nationalist in that its practitioners were drawn from

all sectors of the people and yet, without stylistic similarities, shared common themes and

inspiration. The first survey of Bahamian painting, published under the patronage of the Finance

Corporation of the Bahamas in 1992, depicted more than thirty highly talented artists (Craton

Marquel Wallace000-04-8242

Art 207- Final Project

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and Saunders p 484). Five painters stood out representing the essence: the distinctive black

former house painter Amos Ferguson, the reclusive black United States resident (only part-time

painter), Maxwell Taylor, the white Abaconian Alton Lowe and Nassauvian Brent Malone.



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History

Aboriginal Influence

The Arawaks were the first inhabitants of our Bahama Islands. They were the gentle people who

greeted Columbus in 1492. Their simple way of life was different from that of later inhabitants

of the Bahamas although all were faced with same environment. We know about the Arawaks in

the Bahamas because of the archaeological evidence from old sites, e.g. human and animal

bones, clay pottery, stone and bone tools, even rock paintings in caves. We also know about

them due to the accounts written by the Spaniards (Maples 2001). Since the Arawaks had no

form of writing we cannot ever have their own view of themselves. However, art before the

1400’s, in the Bahamas began with these people. Their form of art survived and was developed

from nature. Their artifacts left behind also suggest the peaceful life they had.

These people had a very creative way in expressing themselves. They were brown

skinned people, quite tall, with broad faces and slanted eyes. They even had their own style as

the young people say ‘swagg’. They had straight black hair, cut short in “pudding-basin” style

but with a piece left long behind (Maples 2001). Beauty was also evident in this culture. They

flattened the heads of the Arawak babies with fastened boards, partly for fashion and beauty.

Also because it thickened the bone which was also added protecting for them against their

vicious enemies. They painted their faces and sometimes their bodies with red, white, yellow,

purple and black mixtures. Colours had a magical and religious meaning but more practically,



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the mixtures kept the mosquitoes away (Maples 2001). These people were not only creative but

also artistically smart skillful people.

From a historical point of view, they were not too advanced in technology, but they

managed to make a way. Their hardest material was rock. Fire was used to assist in hollowing

out logs to fashion canoes and other items of wood. They developed tools such as the bow and

arrow. To work properly, the spear had to be modified into a light and well balanced arrow. They

also developed the blow pipe- a long, thin wooden tube, which into one end was placed an arrow

dart. The hunter put the other end to his mouth and gave a sharp strong blow through the tube.

This forced the dart to shoot out. They used this to catch birds. After shooting them, they used

the colorful feathers in their hair and through their ears and noses (Greenwood 2003).

There was no need for warm animal hides and so they roamed through the forests naked

with perhaps only strips of leaves around their waist for decoration. They adapted to the hunting

spear to be used at sea- the harpoon. Carved from bone and incised with barbs to hold the fish.

They made a variety of tools, such as, knives, chisels, awls, needles, fishhooks, pikes and beads.

Over the years of working near the water, they realized that these trunks could support the

weight of men. Soon they thought that if they could sit in the trunk, rather than on it, the trunk

would remain steadier. This is how the idea of canoes came about.

Not only were the Arawaks handy masons and craftsmen. They also were painters. To

record stories of greatest adventurers and of the lives and brave deeds of men who had lived

many years before- the hunters scratched pictures on the walls of caves. They used red, yellow,

and white and black charcoal from the fires; from this they drew hunting scenes (Maples 2001).



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Art also was evident in their social backgrounds. This group of people was agriculturally

inclined and therefore was farmers. Farming brought settlements-houses. They built homes for

their families, storage bins for crops, and huts for grinding corn. They had two sorts of houses-

the bohio (the chief’s house) and the caneye (the family hut). The houses were both long and

narrow or were bell-shaped. Both types had roofs combs. They were made of wooden canes and

palm thatch. Inside was very little furniture apart from clay eating pots and hammocks of cotton

net. They wove their hammocks in various patterns (Maples 2001). The Arawak women in

particularly were socially involved in making thick and heavy pots. They were skilled in pottery

but decorations were produced by simple instruments, such as pieces of shell, sharpened sticks or

fingers. They also made baskets from which they gathered vegetables and fruits. They wove the

baskets from fibers in plants. Gradually they added designs to their work. Rough patterns were

probably magic symbols to bring good luck. Some was plastered inside with mud and gum to

make them watertight.

Economically the cacique was head or in charge of everything. He decided when and

what was to be done. He determined who went to war and who did the farming (Greenwood

2003). Art played a major role in this economically because it was their dress that separated him

from the people. The caciques wore much more clothing that the regular people. He also had

more ornaments created with shells and beads. He wore feathers as a sign of fashion. He was the

ceremonial ruler that used his creative art to stand out.

Art also played a rule in their religious culture. They were also sculptors. They made

zemis to represent their gods of nature- in which they believed in. They also carved ceremonial



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stools in which the caciques sat. The Arawaks were peaceful people that communicated through

the voice of art. They used it to record history and as their universal language. They used it to

depict their ideas, feelings, social concerns, values and personal expressions.

The European Influence

The first Europeans to meet the Tainos were Catholic first and Spanish second. If the history of

subsequent development of art in the region is any indication, it is conceivable that painting would have

become a medium for religious instruction and expression, probably evolving into work with more

secular themes. But the Tainos did not survive long enough for them to respond to European artistic

influences.

British Puritans arrived in the id-seventeenth century, seeking freedom from religious persecution. A

century and a quarter later, loyalists to the British Crown and their slaves arrived, in flight from the

American War of Independence. These developments greatly altered the demographics of the archipelago.

A significant aspect of Protestanism was its rejection of Roman Catholic iconography. Coupled with this

rejection of the making of images was the belief that the Africans, who now lived here as their slaves

were pagans who worshipped idols. Consequently, the skills involved in making images that the Africans

brought with them died, or they found no nurturing ground, as their cousins had found in Catholic

territories such as Hispaniola, particularly in Haiti, where carving thrived.

Protestanism placed the emphasis upon the written and spoken word. Where images were used, as among

the Anglicans, there was little use of indigenous materials or traditions. Rather imported stained glass

windows depicting themes and bas relief friezes depicting the stations of the cross were preferred. So



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firmly did that tradition take root that very little art produced by Bahamian artists existed in any church

before the early 20th century.

The subsequent secularization of education further reduced the church’s influence upon the development

of Bahamian art. Artistic expression flourished in the new found freedom and focused upon landscape

and portraits in the English Protestant style. However, painted images were still useful in communicating

the Church’s message to the unlettered and many examples of Bahamian painting relied on religious

subject matter.

African Influence

The first people of African descent arrived with the English settlers, the Eleutherian Adventurers. As far

as can be determined these first Africans were greatly outnumbered by their European neighbors. Visual

records of daily life and the Bahamian environment during the early nineteenth century were left to the

forerunners of the photojournalist, artists who came and drew sketches for papers such as the London

Illustrated News, Harpers and Leslie’s Illustrated Newspaper. The works were primarily utilitarian, the

emphasis being upon a flat realism, no doubt affected by the mutability of the medium for which it was

intended.

Many of these works of visiting illustrators depicted the colourful and quaint aspects of island life, when

they dealt with the lives of the newly emancipated, although some woodcuts recorded significant events

such as the Bahamian entry in a trade fair, the way work was organized on a typical farm, activity in a

typical market.

While the creators of many of the old woodcuts and illustrations seem to have been seldom moved to “dig

deeper” into their own creative resources or into the fabric of life, the surface of which they sketched in

the manner which Winslow Homer was to use so effectively, their work serves as a valuable record of life



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in these islands during the period. One can see that Africans truly brought history to Bahamian art.

Africanisms are rife throughout Bahamian culture. Junkanoo, preserving both drumming and dancing, is

the most obvious.



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Economics

Economics and Culture, I would say go hand in hand. We practically make a living on the culture in

which have developed through experiences, beliefs and lifestyles. Several themes are a part of the

economical influence of art in The Bahamas such as the expansion of art education in the Bahamas and

our straw market industry and marketing period.

Expansion of Art Education

The expansion of Art education in the Bahamas since independence has had influences on the

nation’s expenditure, cultural heritage, fine arts, and teaching arts in the Public versus the private

schools. Since Independence, the major portion of the national budget has been devoted to the

country’s education system. This is, in which, where art education benefits from. According to

Dodge and Collingwood in Modern Society, “Expenditures on education rose and have led those

in other areas since 1967. Since 1970, education expenditures have amounted to twenty percent

or more of the total budget. By 1974, over $34 million was spent which well over doubled

amount eight years before. The New Bahamian Ministry of education expressed an appreciation

of art: “As a vehicle for the exploration and fixing of a national identity and therefore changed

the art curriculum (Glinton 1992).”

Straw Market

Straw work in The Bahamas is very lucrative. As a matter of fact, many of the Bahamas’

successful influential citizens are the product of parents whom worked in the straw market.

Straw work is the most renowned craft in the Bahamas. “The more things change, the more they



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remain the same.” This saying very much applies to straw work in the Bahamas. Ever since the

arrival in the islands of enslaved Africans, straw articles have been made- and with the same

straw materials, in the same weaving style, and basically put to the same uses.

There are different types of straw used in straw work. They are sisal, peel top (a product of silver

top), silver top or silver palm, and coconut palm. There are also various types of plaiting. They

are eleven string, pond top or sabal palmetto, centipede, peas and rice, brickle top, trinity two,

the diamond and 8,9,11, and 15 strings (Knowles p28).

Straw work in The Bahamas has woven its way from its origins to incorporate the techniques of

the Black Seminoles of Red Bays, Andros, and European-Bahamian influences from people like

Ivy Simms of Long Island, Bahamas (Outten and Turner p17). All have come together to create

what is a uniquely Bahamian craft.

Marketing

Newly but yet admired by all, modern art has taken off in the Bahamas. These are graphic design

and photography. Due to advancements in technology these newly developed arts is something

we cannot live without and therefore use it to make a living. We use photography and graphic

design for almost everything that is concerned with the global market such as advertisements,

flyers and much more. Even the layout of how the Bahamian dollar bills are designed, have been

modernized and changed. With the combination of both arts we are able to promote and sell our

country to the world affecting all Bahamians way of life. We use and see graphic design every

day, whether it is in the Freeport News (classical), Facebook or even on our phone ca



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Religion

Religion is an important part of life in the Bahamas, we have a lot of churches. Even the smallest

towns have one or two churches. It is a trait that we inherited from the Eleutherian Adventurers.

Christianity is the dominant religion in the Bahamas such as Baptist, Anglican, Pentecostal,

Church of God, Methodist, Protestants, Roman Catholic and other unknown religions.

As previously discussed history has influenced Bahamian art with the help of European influence

and therefore has affected religion. Most art created during the Middle Ages and into the Byzantine

period reflected purely religious themes, the portrayal of which was often un-naturalistic. Human

figures were flat and long, exhibiting no sense of weight, and settings were super-natural with golden

backgrounds and halos on religious figures. Beginning in the late Middle Ages with Giotto and being

perfected as the Renaissance progressed, paintings and sculpture were marked by classical influence,

called humanism, and themes, especially of religious subjects, became increasingly realistic and

naturalistic. Jesus was presented naturally to the point of being able to see the individual hairs on his

head in some works, and rather than being unrealistically super-natural, paintings were more

symbolic and catered to the everyday aspects of human life that people could relate to.

Art was affected by this Protestant Reformation to a point where there was a complete turnaround,

and art, which had so long been important in religion, was seen as idolatrous by Protestants like

Zwingli. In the Islamic world, art which depicts the human form or nature in any way is seen as

idolatrous; this attitude led to a unique and more decorative form of art compared to that of the

Western world. It is evident from the developments during the Renaissance and the magnificent



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works of art of that period, which have had a profound influence on art since then, that humanism,

religion, and art have long had a symbiotic and volatile relationship.

The Bahamas’ main religion is Christianity. Art related no matter the denomination it’s almost

the same. Many of the fine churches in the Bahamas have superb stained glass windows,

depicting events both in Christianity and social development over time. Stained glass windows

have been an integral part of religious architecture for many years. Most Churches also have

sculptures.

The art is a vehicle of expression to bring out an inner feeling - to honour and glorify God.

Catholics worship Jesus through art just as faithful Evangelicals worship through music. This is

not exalting foreign gods (Psalm 97:7). It is reverencing the One True God. We don't think we

should hold disdain for visual art while having such respect of audio art (music). While at the

same time Sculptures do have meaning in churches.

For the first 1600 years of Christianity, most people couldn't read or write. Every stained glass

window and statue in medieval Churches told a story. Illiterate people could look at the stained

glass pictures on the windows of the Churches and understand the story. So not only were the

statues and paintings beautiful and reverent, but they were also very functional. They told the

Bible story and the Priest could point to them during his homilies. Statues and stained glass were,

for them, teaching tools and reminders. A well trained Christian could learn the stories of all

those saints, and pass them along to his children, even if he couldn't read. This also explains the

classic format of the windows: a large central picture surrounded by a host of smaller vignettes.

With proper explanation, one could learn the whole story of, say, John the Baptist, along with all



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important tie-ins to the life of Christ. These were not false images to be worshiped, but reminders

of the story of Salvation.



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Other Influences: Fashion and Architecture

Architecture

In terms of Architecture, one can see the influence of art here in The Bahamas, from observing

the traditional Bahamian home, in which many still exist today. A more upscale/ typical

traditional home is called ‘Jasmine”. This style home is built of wood, wooden shutters, consist

of windows and doors, and elevated off of the ground. Wood is a fantastic material that replaces

more energy-intensive alternatives, stores carbon during its lifetime and, when it’s reached its

end, can be used as a source of energy instead of fossil fuels. Wood plays a critical role in the

fight against climate change. Depending on the size and construction, a Bahamian single-family

dwelling made of wood is estimated to save between 5 and 15 tons of carbon dioxide if wood

replaces other materials wherever possible.

Exterior window shutters are shutters that are placed outside of the house. These shutters

typically serve two purposes. First, as with any other shutters, they shield out the light when

closed. Second, exterior shutters typically offer protection against the elements of the weather

such as stores or hurricanes. Exterior shutters can be made of several popular types of materials

including wood, vinyl, aluminum or metal. But, this house in particular it is made out of wood.

They were also decorative one can be afforded. The Bahamas sometimes encountered bad

weather (such as hurricanes), so they invested in exterior shutters that are specifically designed

for that purpose. These shutters are sometimes called storm panels. Exterior shutter today

compared to the old traditional Bahamian home is different. They are typically made of

aluminum or steel and can offer protection against the weather.



http://www.sca.com/en/Pages/Glossary/Carbon-dioxide/

http://www.sca.com/en/Pages/Glossary/Climate-change/

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There were at least two main doors leading to outside (front and Back door). There were also

many windows installed for the circulation of air. The Bahamas is a hot country; windows

usually stayed open allowing the cool breeze to circulate through the house. The primary

material (wood) used also took a big role in keeping the house cool, oppose to metal or concrete.

The way the wood was placed or designed to layout and create the house (vertical and horizontal

crevices) increased the natural flow of air. The house was also built above ground level. This

elevation served as a flood resistant strategy in case of a storm. The home also had a porch in

which the roof covered in case of rain.

The Bahamian Traditional house was built and designed to support the climate. It was well

circulated and conservatively built. These homes could have with stand hurricanes and other

storms because of their setup. These homes were very durable as can be proven today, because

many still stand. The only disadvantage is that wood is not as strong as concrete.

Fashion

In the Bahamas we have our own state of the art fashion line- Androsia. Androsia is a batik

fabric and batik clothing manufacturing factory located on the island of Andros in the Bahamas.

Since 1973 we have used the beauty of the environment of the Bahamas for inspiration in our

print designs and brilliant colours. Androsia has a complete line of women's, men's, and

children's batik clothing, resort wear, and cruise wear as well as accessories, home goods, batik

fabric sold by the yard, and fabric fat quarters for quilting. Androsia is sold on almost all of the

inhabited islands of the Bahamas including Nassau, Paradise Island, Grand Bahama, Andros,



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Chub Cay, the Abacos, Harbour Island, Eleuthera, Cat Island, Long Island, and Exuma. This is

the best of unique authentic Bahamas shopping.

Although much has changed at Androsia from those early days of hand dyeing fabric in tubs

under the palm trees, a lot remains the same. Each and every print, from "Schooling Groupers" to

"Breadfruit", is still recognizably Bahamian. Every colour still has its origins in the waters, flora

and fauna of the Bahamas. Lyford Green is from the beautiful seas off Lyford Cay in Nassau,

Shocking Pink is the small line found inside the national flower, the yellow elder, and Cabana

Blue is from the boat covers that dot the harbours of Abaco. Every yard is still hand printed and

hand dyed and dried under the Bahamian sun.

The Androsian factory produces a new line of garments and fabrics each year and frequent

visitors to the islands have become Androsia collectors.

All Androsia fabrics are hand batiked and hand dyed so no two yards are exactly alike. After

printing the design on 100% natural fibre fabric, the fabric is then hand dyed using some of the

finest cold water reactive dyes. When the wax is removed using several baths of 190-degree

water, the beautiful white design remains against the vivid background. (During the wax removal

process on the fabric, minor shrinkage occurs, so that all finished garments and fabrics are

preshrunk!) The fabric is then dried on clothes lines under the Bahamian sunshine.

Androsia presently ships to accounts throughout the capital city of Nassau on New Providence,

its large neighbor to the north, Freeport, on Grand Bahama, and all of the inhabited Out Islands

of the Bahamas. Visitors to the island soon become Androsia collectors, and say that putting on



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their Androsia reminds them of warm sunny days in the Bahamas. Many dignitaries and

presidents own Androsia, even the Queen of England received a gift of a beautiful piece of

Androsia silk during one visit, and most recently, a quilt of colourful Androsia fabrics.

Androsia prints feature shells, birds, fish, and flowers dyed in colours like guava pink, sea green,

and aquatide.



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Culture

One aspect of Bahamian Culture that exemplifies art in the Bahamas is Junkanoo. Junkanoo is a national

festival in The Bahamas, the only place where it holds such an honor. There is even a museum

showcasing Junkanoo costumes, art and artifacts in downtown Nassau--a cultural highlight and must-see

attraction for all visitors.

The origin of the word Junkanoo is obscure. Some say it comes from the French "L'inconnu" (meaning

the unknown), in reference to the masks worn by the paraders; or "junk enoo," the Scottish settlers'

reference to the parades, meaning "junk enough;" or "John Canoe," the name of an African tribal chief

who demanded the right to celebrate with his people even after being brought to the West Indies in

slavery.

It is believed that this festival began during the 16th and 17th centuries. The slaves were given a special

holiday at Christmas time, when they could leave the plantations to be with their family and celebrate the

holidays with African dance, music and costumes. After emancipation, they continued this tradition and,

today, Junkanoo has evolved from its simple origins to a formal, more organized parade with

sophisticated, intricate costumes, themed music and incentive prizes.

Christmas celebrations in The Bahamas would not be complete without Junkanoo bands "rushing" in the

streets. Venture down to Bay Street in Nassau during the early morning hours of Boxing Day (the day

after Christmas) and New Year's Day and behold this cornucopia of color and sound. The darkness of

the early morning adds to the bewitching atmosphere. Overhead streetlights highlight the hues of the

costumes and banners intricately designed and patterned from minute strips of crepe paper of all colors

glued to clothing, cardboard and wood. Marquel Wallace

000-04-8242Art 207- Final Project

http://www.geographia.com/bahamas/bsnpin01.htm

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Among the Junkanoo troupes are the "Saxons," "Valley Boys" and "Roots." Competition amongst them is

fierce--thousands of dollars in prize money are at stake--and costume designs are a closely-guarded secret

until they are finally unveiled.

Each troupe selects a theme for its costumes and members are dressed in variations of that theme. It could

be something as archaic as Vikings or as contemporary as astronauts. The groups short-step along the

street, depending on the music they play with their goat-skin drums, cowbells, conchshell horns and

whistles. Revelers on the sidelines cavort with the same abandon, singing and dancing along, "We're

rushin', we're rushin', we're rushin through the crowd ... K-k-kalik, k-k-kalik, k-k-kaliking k-k-kalik, k-k-

kalik, k-k-kalik, k-k-kalik, yeah."



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Conclusion

The Bahamian nation has certainly come of age, within the past 500 years, the visual arts in the

Bahamas have definitely progressed. This applies to some areas more than others. Most

noticeable is painting, which is universally one of the oldest forms of artistic expression; and, in

our folk tradition, the superb craftsmanship of Junkanoo. Visual arts evolved from their

aboriginal advent to the arrival of Europeans, Africans and other ethnic groups. This evolution

has focused on the interaction of different racial and ethnic groups which have influenced

contemporary Bahamian culture.

The Bahamas has a vibrant arts community encompassing artists working in a wide variety of

creative fields. The National Art Gallery of The Bahamas features an extensive collection of

primarily Bahamian art, including paintings by Amos Ferguson, sculptures by Antonius Roberts

and pencil drawings of historic Nassau from the 18th century. Other galleries and artist studios

are located in Nassau and throughout the other Bahama islands.

For many years, Bahamian art consisted primarily of straw crafts and paintings of island life,

created primarily for the tourist market. Over the past decade, or so, a new crop of Bahamian

artists has emerged on the scene expressing themselves in new, creative and uniquely Bahamian

ways. These young artists are encouraging a new form of individualism and artistic personality.



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Works Cited

Craton, Michael and, Gail Saunders, Islanders in the Stream: A history of the Bahamian People.

Athens, Georgia: University of Georgia Press, 1998.

Dupuch, Etienne Jr, S.P. Dupuch, Arthur A. Foulkes, and Ann Genett. The Bahamas Handbook:

Bahamian Art. U.S.A: Etienne Dupuch, Jr. Publications, 1976.

Greenwood, R Shirley Hamber and Brian Dyde. Amerindians to Africans. Between Towns

Road: Macmillan Publishers Limited, 2003

Knowles, Karen. Straw: A short account of the straw industry in The Bahamas. Nassau,

Bahamas: Media Publishing, 1999.

Maples, Don. Making of The Bahamas: Longman Publishing for the Caribbean, 2001

Outten, Kim and, Grace Turner. “Straw Work: A case study of Continuinity and Change.”

Bahamas Heritage Festival 2003: 17-20.



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Final Project