by A.L. Major
Every year around Christmas time Bahamians are divided by the Junkanoo groups they support. I was born into a family of Valley Boy supporters, but in theory I could support any of the main competing groups—Valley Boys, One Family, Roots, Saxons, The Music Makers or The Prodigal Sons. These groups practice all year for the Boxing Day and New Year competitive parades. Those used to be the only mornings there were Junkanoo parades, but now there are performances called rush outs every week in Marina Village on Paradise Island and routinely throughout the summer at the Fish Fry, a once cultural landmark now overrun by restaurants that sell syrupy-sweet strawberry daiquiris and bland peas n’rice on Fiestaware. I do want to be, nor do I try to be a cultural snob, but sometimes I do wonder if anything can belong to a country that shares and bends its land and people so often for the benefit of others. I wonder at one point does the culture become something else entirely, simply a shadow of its former self.
by Nicholas Johnson
Mariko Mori’s multifaceted body of work stems from a yet more expansive imagination. Mori strives to show us a glimpse of a world that could have been transmitted from a distant future. Mori showed in London, 14 years ago and her vision aligned with video games, escapist manga culture and the digital aesthetic of an emerging generation. Today her work imagines a world where science and spirituality fuse with biology and technology. We get a rickety draft of future possibilities from an iridescent, alien world.