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

drea brown’s Residency – Final Blog Post

US-based poet drea brown shares her final blog post about her Fresh Milk residency, which took place from April 19 – May 10, 2017 as part of a new partnership between  Fresh Milk  and the John L. Warfield Center for African and African American Studies at the University of Texas in Austin. Although there is a kind of finality in her writing this closing blog, it also comes with the knowledge that her time in Barbados was the start of something special; what she learned and the bonds she formed are sure to bring her back to the island in the future. Read more below:

I’ll begin with a confession. I think it has taken so long to write this final blog because in doing so, I have to admit the world I’ve returned to, full of its own responsibilities, is not a longwinded dream that I will wake from rocking in a chair on porch surrounded by blues and beauty, and the occasional mooing cow.

My last week of Fresh Milk was filled with serenity and laughter, with art and bold amazing voices. I found myself waking with pieces of poems in my mouth that stumbled onto scraps of napkins while coffee brewed. I rambled to Fresh Milk artists/team about all of these imaginings, all of these stories that kept unraveling. I shed layers and layers of fear, and leaned into the encouragement, and openness of those I’d come to cherish and respect.

A few days before leaving Barbados, I went to the Barbados Community College BFA portfolio art show, a major event in town, and walked around with my mouth gaped in a amazement from the intense beauty on those walls, the dismantling of taboo and stereotype, inquiries of identity, music, color, masculinities, sisterhood.  That night, those walls, the sounds, the film shorts, still buzz in my head. I am eagerly anticipating what comes next for the bold emerging artists.

My last evening with Fresh Milk was also the night of artist talks and a gallery walk. Kraig Yearwood’s creations and residency experiments lined the walls and posed in corners. And, I was so inspired by the way he let go, and let his art decide the journey. There was such truth in that, surrendering to the will of the work. I was learning something similar, how to listen, how to see, and let my hands move as they desired. I read from new poems that night, and there were moments where I found myself surprised by the words I’d written, but they needed to be shared. And there is more to come.

I write this knowing I will be back. It feels impossible not to return. There’s more to be done.

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This residency is supported by the John L. Warfield Center for African and African American Studies

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.

Letitia Pratt’s Residency – Third Blog Post

Bahamian writer Letitia Pratt shares her third blog post about her Fresh Milk residency. This week, Letitia took the time to get out of her own head and experience Barbados is different ways to overcome her writer’s block. This exploration, coupled with inspiration gleaned from reading Shivanee Ramlochan‘s ‘Everyone Knows I am a Haunting’ proved to be the breakthrough she needed to continue writing about the folkloric Hag Woman in her poetry. Read more here:

This week, I went exploring. Stir crazy from the isolation of my own head, I decided to give myself a break and travel all over the island. I thought it would be good to do this because I was having trouble formulating the narrative of my poem, and a break was necessary to gather my thoughts.

My week started off with an island tour that Natalie McGuire took Nyugen and I on. We were able to watch the island come alive through her lead. With good company, I allowed the spirit of the island to speak to me. We explored caves and cavernous cliffs that overlooked the sea at the east and north points of the island. It was a beautiful thing to experience, and from the natural beauty of this place, I was able to find some melody to my writing. But it wasn’t quite there yet.

During the week I decided to go walking around in Bridgetown. The bustling activity of the place immediately overwhelmed me. It was quite different from the silent stillness of Walkers Dairy and reminded me of the hullabaloo of Downtown Nassau. Because of this, I found it kind of homey as I walked through the busy crowds that were ambling towards shops. I visited libraries, souvenir shops, produce markets, and stalls on Swan Street. The Bridgetown atmosphere was definitely invigorating, but did not unblock the words I needed for the piece.

Feeling frustrated I confided in Sonia Williams, a Barbadian performance artist, theatre director, writer, and educator in Theatre Arts at the University of the West Indies Cave Hill Campus, about the construction of my Hag Woman character. She suggested, because the character was so connected to the woods and trees of her environment, that I immerse myself in the woodsy areas of Barbados for inspiration. So one morning, pulling on my T-Shirt and very long jeans, I ventured into the woodsy trees that surrounded Walkers dairy. The stillness of these woods inspired some of the words for my poem. I was able to indulge in what my protagonist would be able to see when she transforms herself, and her voice came passionately.

When I left the woods I felt reassured. I knew the words were coming. But I needed a bit more help, and Annalee was able to provide some for me. Later on in the day, she gave me a copy of Everybody Knows I am Haunting by Trinidadian writer Shivanee Ramlochan. Her words were vivid enough to fuel dreams and spark my imagination. The story of the Hag Woman comes from the inspiration I gathered from reading this book. It came from those dreams.

After all the exploring, all the reading, my piece began to take on form. I was delighted. Again, I would like to thank Annalee and Katherine for letting me indulge in this amazing experience here at Fresh Milk. The Hag Woman and I are immensely grateful.

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.