Nyugen Smith’s Residency – Third Blog Post

US-based interdisciplinary artist Nyugen Smith shares his third blog post about his recently completed residency at Fresh Milk. Nyugen reflects on part of his time in Barbados and the sensitivity of some of the issues he is attempting to unpack through his work, as he begins to navigate the history of the island in conjunction with the contemporary realities and nuances of its complex culture. Read more below:

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Day 6

I pity them greatly but I must be mum,
For how could we do without sugar and rum?
-William Cowper

Every night is a time to reflect on the events of that day, yesterday, and the day before that.

Today (6/9/17) is one day short of a week that I have been here in this place where there weren’t many places for a runaway to hide. Flat land. Coral rock holding points of pressure always a reminder that one day, almost all of this, if not the highest point of this mass, will look upwards to refractions of light filtered by a mix of salt and fresh water. I see shells at my feet in places that provide an overview of flowering fields, marveling at the magic produced by the perfect length of day. There isn’t much soil here. So I’ve heard. I couldn’t help but wonder how one buries the dead. My mind ran through the file of flora and fauna my eyes have registered since landing. To think that their roots do not run deep. Or maybe they possess the strength and capacity to carve their way through the limestone floor because they must.

I wondered. Every time that I see banks of this almost rock that flank the roads I travel, I want to measure the depth of dirt that rests atop like frosting on sponge cake slices. I am curious. Six or seven inches of soil is all it takes for “white gold” to situate itself in this part of what Andrea Stuart referred to as a “European world”, to the south and west of England’s winter.

…continued on 7/6/17 post-residency…

“It’s Complicated”… is a phrase that became popular on social media platforms as a way to describe relationships between two individuals when either one or both parties dance between acknowledging the other as a romantic/committed partner and not doing so. This could be due to reasons that may or may not include external pressures, unresolved prior romantic/committed relationships, apprehension to absorb one another’s “baggage”, lingering questions regarding long-term effects on one’s social status, fear of personal sacrifices that are inevitiable for the relationship to work, and or unaddressed psychological trauma that hinders one or both parties from being able to commit to the “long-haul” together.

As a guest in Barbados, the home of 285,750 people, I quickly became aware of topics of conversation that if spoken of, would complicate the weather underground and perhaps prompt the removal of lavalier microphones with a muttering of “we’re done here…” This early awareness was not derived from my own assumptions or conclusion drawn from tangential musings, but directly spoken to me by Bajan citizens. There was no mistaking the message bottled in the words…

f-f-f-f-f-f-fear
sen-s-s-s-s-sitive
am-m-m-m-ne-e-e-e-sia
e-e-era-a-a-sure
den-i-i-i-ial
protective-v-v-ve
in-secur-r-r-r-re
sus-s-s-spicion

…these words are like the togetherness of flies on a pile of shit
bothered by strong breeze
and boots barely too close.

bothered for good reason.
if spoken (topics) they do a number of things:

they
carry a threat of a future removal of the flies’ feast

they
add pressure that spreads the feast thin over a wider area, making it easier for more to take part in the spoils

they
carry the scent across a distance simultaneously attracting more to buzz about in the mess and causes others to close off parts of themselves as to not absorb any

they
smear the pile taking with them a trail wherever they go. at least – a small sample ends up in the home of the hot stepper

Despite the words of caution and warnings, I, the guest, stepped in the pile.
I, the guest, was smearing, spreading, and stirring up the mess with the work I was doing.
There was one instance in particular where I was asked to stop.

To speak the name,
Barbados
is to spray the air
with a mist of sea salt and
the smell of green-
for bush and deep waters are never far.

To speak its name
is to swaddle the body with hospitality
and rock it with musical vibrations of the region.

To speak its name
is to draw from its wells of intellectual tradition.

But you cannot speak the name,
Barbados
without the bitter taste of
black death soaked
in the juice of Saccharum officinarum
lingering on lips
warmed by the Caribbean sun.

For sugarcane to have earned the moniker “white gold”, scientific means had to have been employed to develop and improve its quality, while maximizing its production. There were people at the helm of this scientific research. Parallel to this timeline that ensured the success and longevity of the sugarcane industry, existed a systematically constructed labor force comprised of enslaved Africans and their descendants. The success of the plantation system (slavery) in Barbados was a model for the colonies in North America. As sugarcane was and is selectively bred, enslaved Africans and their descendants born into slavery in Barbados were also bought and sold-their value determined by their physical attributes and skills. I am intrigued by the historical and contemporary societal relationships between the two and plan to investigate this and the sensitivity of these matters more in my practice.

Engaging in conversations about this, is not for the ill-prepared. Preparation is a must. Patience must be had, composure maintained and its important for all engaged parties to be present with a willingness to bridge gaps of understanding within “the complicated”. If not now… when?

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This residency is supported by the Leonore Annenberg Fellowship Fund for the Performing and Visual Arts

Kraig Yearwood’s Residency – Final Blog Post

Barbadian artist Kraig Yearwood shares his final blog post about his Fresh Milk ‘My Time’ Local Residency 2017, which took place during March this year. Kraig gives an overview of the residency and final thoughts on the experience, including the workshop he held with Class 3 students at Workmans Primary School, and his participation in our public event FRESH MILK XX, which took place on May 9, 2017. Read more below:

A view of the Colleen Lewis Reading Room as well as a few of my reading materials

The Lost Blog

Okay, the title is a bit of a misnomer – I guess it’d be more accurate to say that life got in the way of writing this final blog post.

Once again, I can’t believe how time flies. As I cast my mind back to when I started the My Time Residency, it’s strange to imagine that my 1st week at Fresh Milk seemed to drag on endlessly and I was in a constant battle with myself about not doing enough. This was despite my using this week to work on possible directions as well as researching some of the materials I was hoping to work with.

A few of the experimental pieces which were made during the 2nd week of my residency

I’ve stated previously, on commencement of my residency, that I had no solid ideas other than I’d known I’d wished to play with materials I’d never used before and also wanted to explore the use of collected trash items. As I got deeper into my stay, I started to focus on exploring themes of materialism, mass production, excess and what we leave behind.

Knowing that I still had to develop ideas for the social outreach component of the residency, I decided to create an environmental awareness programme which would be geared towards primary school students. The aim of this workshop was to educate the children on the importance of proper waste disposal, drawing attention to local and global environmental issues, community activism and the importance of teamwork in tackling such issues. Workmans Primary was selected mainly due to having a very limited arts programme as well as the existing relationship between the school and the residency platform. The workshop began with a with video presentation focusing on environmental awareness and recycling tips, and was followed by a question and answer segment. The children were then split into groups where they were invited to colour and collage bits of trash items on to a poster which was illustrated by myself, depicting an appropriate method of waste disposal as well as the consequences of litter. To conclude, the class was given a smaller version of the poster to take home, as well as a handout which included interesting facts on the environment and a small activities section.

The poster for the “This! Not This” campaign

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FRESH MILK XX Event

On Tuesday May 9th I wrapped up my time at Fresh Milk with a showing of the work made or conceptualised during this stint, as well as participating in a Q & A with international curator Pamela Lee. Pamela also delivered an eye opening presentation on the connections between the areas of Art and Science. This well attended event was brilliantly capped off by the then current resident, US-based poet drea brown, who spoke on her residency experiences which was followed by an engaging poetry reading.

Although this might be the 1st time that I’ve perhaps failed to complete a body of work, I do believe that the Fresh Milk platform has provided me with an invaluable experience. It has allowed me some much needed time to focus on making artwork, experiment and introduce new materials into my practice in a new and supportive environment.

Much thanks to Annalee Davis and Katherine Kennedy.

Open Call: The NCF and Fresh Milk Emerging Directors Residency 2017

The National Cultural Foundation (NCF) and the Fresh Milk Art Platform are pleased to share an open call for the Emerging Directors Residency 2017. Launched for the first time last year, this exciting programme is a paid artist residency for early career theatre directors, which will provide them with an opportunity to conduct much needed research into Caribbean theatre heritage and to explore and create through theatre form and style.

One residency will be offered for one emerging Barbadian director, who will receive a stipend of $1,000.00 BBD. The residency will be based at the Fresh Milk studio in Walkers, St. George, and will run for a 50 hour period which the resident must complete over five weeks, between October 2nd – November 3rd, 2017. The deadline for applications is July 27, 2017.

The selected resident will be mentored over the course of the programme by a noted Caribbean Director and, at the close of the period, will present by way of an intimate, private showcase with their actors and specially invited theatre professionals, aspects of the work they have been exploring.

Rationale:

Residency programmes afford professionals time and space away from the demands of daily work life to carry out much needed professional development, with the emphasis on process rather than necessarily having the pressure of producing a finished body of work. Outside of traditional longer term training, a paid residency allows artists time for contemplative study and exploration. In the Barbadian context, there is much focus on the training of performers, however there are considerably fewer opportunities for those theatre artists with a special interest in directing to hone and develop their skills. Highly skilled, culturally aware and visionary directors are needed, as we move nationally to advance our cultural industries sector, and to enrich the quality of small and large scale staged events, whether drama, music, dance, or indeed multimedia events.

Greater awareness of Barbadian/Caribbean theatre form and style will serve to enhance the ideological and interpretive output of those up and coming directors on the local theatre scene, and equip them to create work that consciously and profoundly engages with Barbadian tradition. ‘Emerging Directors Residency’ offers an opportunity to design and apply staging concepts for ‘alternative spaces’, i.e. the “site-specific”, and otherwise environmental concept. It offers mentorship, access to archival material, and affords time for creativity.

Eligibility:

The ideal candidate should be a trained Barbadian theatre artist, who has directed between 1 and 4 plays.

Duration of Programme:

50 hours to be undertaken between October 2nd – November 3rd, 2017.

*Please note that your application must include a timeline mapping out your use of the set 50 hour period. While access to the Fresh Milk studio may be granted in addition to this timetable which may inform the work, it would be considered as work done outside of the parameters of the residency

Application process:

Prospective candidates can apply with the completed application form (which includes a bio/artist statement, project proposal and detailed timetable outlining the 50-hours of the residency, and can be downloaded here), full CV and portfolio, writing samples from your director’s notebook and 2-3 critical (newspaper, peer or academic) reviews of recent work to the National Cultural Foundation, Theatre Arts Office at the email address lisa-cumberbatch@ncf.bb before midnight on Thursday, July 27th, 2017. They will be interviewed by a panel comprising NCF and Fresh Milk officials.

The successful candidate for the residency will be offered a stipend of $1,000.00 BBD. The mentor will spend 10 hours in total with the resident over each 50 hour residency. The resident will have access to two actors for 15 hours to experiment and/or create work. At the end of the residency period, there will be a short, private showcase where the resident can share aspects of the work they have been contemplating with a small audience of invited theatre professionals.

Expectations:

In addition to the 50 hours spent at Fresh Milk, each resident will be required to keep a weekly blog of text and images documenting their thoughts and processes which will be shared on the Fresh Milk website. At the close of the residency, each resident will also be required to submit a report according to Fresh Milk and the NCF’s guidelines.

FRESH MILK XXI

The Fresh Milk Art Platform is pleased to invite you to FRESH MILK XXI, taking place on Wednesday, June 28, 2017 from 6:00pm – 8:30pm at Fresh Milk, Walkers Dairy, St. George. This event will feature our two international resident artists for the month of June, US-based interdisciplinary artist Nyugen Smith and Bahamian writer Letitia Pratt.

During his residency at Fresh Milk, Nyugen has been spending time with people who live and work in Barbados, walking the streets of Bridgetown and performing investigative actions on the grounds of Fresh Milk which include video and photo-based projects. Nyugen will engage visitors with a new performance which considers his research on sites charged with memory, synthesizing his experience and findings with his interests in African cosmology.

After this performance, Letitia will give a reading of some of her previous work and the new pieces which have developed during this residency. Letitia’s research and poems in Barbados have been investigating and questioning the ways in which misogyny manifests in the Bahamas and throughout Caribbean, exploring commonalities and differences through Caribbean history and folklore with emphasis on the tale of the ‘Hag Woman’.

The evening will close with an artist talk and Q&A session with Nyugen about both his work in Barbados and his wider practice.

This event is free and open to the public. For directions to Fresh Milk, visit the ‘About Page‘ of our website.

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About Nyugen Smith:

Nyugen Smith (Photo credit: Janice Marin)

Drawing heavily on his West Indian heritage, Nyugen Smith is committed to raising the consciousness of past and present political struggles through his practice which consists of sculpture, installation, video and performance. He is influenced by the conflation of African cultural practices and the residue of European colonial rule in the region. Responding to the legacy of this particular environment, Nyugen’s work considers imperialist practices of oppression, violence and ideological misnomers. While exposing audiences to concealed narratives that distort reality, he destabilizes constructed frameworks from which this conversation is often held.

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 About Letitia Pratt:

Letitia Pratt

Letitia Pratt recently obtained her Bachelor of Arts in English Language and Literature from the College of the Bahamas. An avid reader of fantastic fiction, most of her writing navigates the existence of black (feminine) bodies within that genre and draws heavily on stories within Bahamian folklore. Her themes often explore the function of art and literature within the Bahamas, and her most recent published work, ‘A Scene (of Two Lovers Contemplating Suicide)‘ discusses the concept of liminality within artwork, and how it’s the ability to occupy multiple spaces creates an active exchange of ideologies.

Open Call: The Fresh Milk ArtBoard

The Fresh Milk Art Platform, Barbados, shares a regional open call for Caribbean visual artists to submit digital pieces for consideration to be displayed on our Fresh Milk ArtBoard. In an effort to generate interest in work by contemporary artists and share it with the public, Fresh Milk uses the ArtBoard as a ‘public gallery’, as it is located by a busy road on the outskirts of the active dairy farm that houses our studio. The successful applicant will receive a fee of $1,000.00 BBD ($500 USD) for their work.

Requirements:

  • Artists must be citizens of the Caribbean
  • Artwork must be sent as a digital file (JPG, PNG, PDF, TIF or PSD)
  • Artwork must be very high resolution, and able to be printed clearly at the size 89” x 89”
  • The work, a statement about the proposed work (no more than 350 words) and a bio (no more than 250 words) should be sent to freshmilkbarbados@gmail.com. This can also be done via WeTransfer or Dropbox
  • Please keep in mind that the Fresh Milk logo and signage for the ArtBoard will be incorporated along the left side of the 89” x 89” design, as seen in previous Fresh Milk ArtBoard editions

The deadline for submission of works is July 21, 2017. The selected piece will be on display from August, 2017, which coincides both with Fresh Milk’s 6th Anniversary as well as the hosting of the regional festival CARIFESTA XIII in Barbados, and will be on display for a minimum of 6 months.