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American World Clinics Limited (AWC) is meeting with key officials this week to discuss $200 million worth of investment in a state-of-the-art medical center.
Executives from AWC are promising up to 800 construction jobs and more than 200 permanent positions once the facility opens.
A rising South Abaco development has sold 53 lots thus far, translating into nearly $12 million in sales.
Schooner Bay, the brainchild of Lindroth Development Company, is rapidly evolving from a construction site to a functioning community, according to James Malcolm, marketing director for the project. The site is now home to 12 finished dwellings and seven others in various stages of construction.
While Schooner Bay has held a number of social events in recent months, Malcolm said the project should truly turn the corner in the next few months as its population density grows.
"That is really going to explode in the late fall or winter," he told Guardian Business. "They'll see a completed community, with homes occupied and the Blackfly Bonefish Lodge basically done."
The fishing lodge will serve as one of the first major businesses at Schooner, providing a top tier angler experience, as well as hotel and restaurant services.
"The roof is going on as we speak. Once people can live there and enjoy themselves, that changes the game," Malcolm added.
Schooner is now in the midst of a $30 million "big burst" of development for 2012.
The developer reported considerable utility work ongoing, including trenching and conduits being laid. Geothermal wells have also been drilled. Electricity is expected to be fully up and running by August, serving up to 140 lots, with water and sewerage being completed in late September.
"We're becoming a destination where people can stay and enjoy. That's what we've been working towards for the past five years," the Schooner executive said.
Essential to that domestic feel will be more commercial options. The developer has pledged up to four food and beverage outlets at Schooner Bay by the end of the year, including Blackfly, a deli and a general food store.
Construction should begin soon on a beach club, according to the developer, which will add another seven bedrooms of accommodation. Schooner Bay is also developing a $2 million therapeutic escape called Wells Bahamas, featuring luxurious, yet simple, spa services geared toward green and sustainable living.
The 14-acre harbor and harbor master docking facility will have its soft opening in late summer or the early fall of this year. Dock space is leased annually to Schooner Bay property owners only. Vessel size is limited to approximately 70 to 75 feet and could be less based on dock space available at the time.
THE new Magistrate's Court complex on South Street is "substantially completed" and is expected to be operational by late September, Attorney General John Delaney said yesterday.
Construction of the modern, 12-court complex began in 2005. In 2008, Adler Construction was awarded a $6.4 million contract to complete the job.
The new complex will include a high-security system, including metal scanners at its entrance.
It will also have separate elevators for the public and magistrates.
The three-storey building will be equipped with a separate entrance for prisoners, and male and female holding cells.
While tourin ...
By NATARIO McKENZIE
Tribune Staff Reporter
This article is taken in part from the second edition, published in 1989, of the book 'Grand Bahama' by Peter Barratt.
Perhaps the most remarkable development ever conceived and built in the Bahamas was Sir Billy Butlin's project at West End. For the venture Butlin chose the (almost) nearest point of the Bahamas to the Florida mainland on Grand Bahama. Viewed in retrospect, the audacity of the concept, considering the straightened financial times of Britain and the Bahamas just after World War II, perhaps even surpassed Wallace Groves' Freeport project.
The problems of distance from 'home base' were compounded by the dearth of building materials and labour on the island and the totally unknown American tourist market. Yet in 1948 Butlin started work on a large hotel complex and holiday village at the western end of the island. Besides lack of building materials and labour, he even had to solve the problem of creating infra-structure, advertising the project in the US and then transporting materials and later visitors to a totally undeveloped island.
Butlin bought up a large tract of land at the western tip of the island in 1948 and proceeded to build 'Butlin's Vacation Village', with a view to providing complete vacations for middle-income families at a very moderate room rate. He formed a public company incorporated in the Bahamas and was supported by several large British companies. Shares to the extent of some £2 million (something like $20 million at that time) were issued. The Reema Construction Company from England acted as general contractors for the work and ground was broken in 1949. Work went ahead and expatriate construction staff moved in, necessitating the building of temporary accommodation, called the 'European Quarters' some half a mile from the main project. (Some of the buildings were still standing as late as the 1980's, illustrating the truism that there are few things more permanent than temporary buildings).
When hindsight is always 20/20, it implies a longing for things to have taken place differently. But this isn't the case with the rapid evolution of contemporary Bahamian art, which for the last 20 years has expanded the boundaries of how Bahamian artists define themselves and their practices.
Hoping to pay homage and expand this conversation, two contemporary abstract Bahamian artists, Toby Lunn and John Cox, reunite in the collaborative exhibition "20/20" opening next week at Popopstudios International Center for the Visual Arts.
For the pair - who have known each other all of their lives - the exhibition is not so much a retrospective imbued with finality but rather another significant milestone in the conversation they've held with themselves and the wider art community since their first exhibition together in 1992 at the Bahamian Art Gallery in downtown Nassau.
At the time, with their understanding about art practices being shaped on a global scale through their studies abroad - Cox at Rhode Island School of Design and Lunn at Maryland Institute College of Art - the pair presented a wildly contemporary show ahead of their time.
With his use of unconventional materials in his sculptural constructions, Cox urged his viewers to take a second look at art in everyday life and landscapes - something that continues in the material choices as well as in the repetitive symbolism he uses in his work today.
"I remember being challenged by artists early on because people don't generally understand the visual construction of their surroundings, but that was something I was always in tune to - all of living is art and design, and I think that's where my fascination with materials and what I choose to use comes from," says Cox.
"I think RISD was the best thing for me at the time," he adds. "It was the right combination of being intimidated but also exhilarated. It boosted my confidence and taught me to see that there is no ceiling. All of the stuff from before, we questioned it, and we could do anything."
Meanwhile, Lunn dissolved the human figure into abstractions, passionately
applying paint and wood stains on canvas to explore the emotional undercurrents of everyday categorizations.
"A lot has changed in the way I look at art," says Lunn. "I guess it was an organic solution for me. I got sick and tired of race and gender in portraits, all of our labels, and abstractions delved into the inner workings, the psyche, in a way I thought portraiture couldn't - but of course that's incorrect, and now years later I'm revisiting the figure from a different perspective alongside my abstract work."
Besides displaying their current work 20 years later, the exhibition will also include first time collaborations between Cox and Lunn through diptychs and large canvases that evoke the spirit of the "Jammin" sessions of their mentors Jackson Burnside, Stan Burnside and John Beadle.
"With the collaborations, John and I have a synergy as friends, but there's also a tension, and we are trying to use both in our work," says Lunn. "It's a collective experience. When you look at the work, you will see John's hand and my hand. That's the idea - you can feel the two energies."
"Stan showed us that we could be successful and sophisticated artists, and Jackson encouraged people to stick to what they believe in," he adds. "I'm grateful for that influence, for the courage in if you have something to say, find a way to say it. Because what are you going to do, paint someone else's painting?"
"Art is about truly expressing yourself and this show is about being true - not necessarily to everything we have accomplished, but rather to our journey. This is a milestone I'm so excited to accomplish."
Yet the pair recognizes that "20/20" is bigger than the two of them. Even though the two have shared spaces in exhibitions many times since then - at Caripelago, the Pro Gallery, Popopstudios, in Miami Beach and in Harlem - the 1992 exhibition and the imminent "20/20" act as parenthesis around a time when Bahamian art has changed in significant ways. With the growth of several art spaces and a National Art Gallery, globalization and mass communication, and the opportunity for younger artists to practice abroad, the understanding of what constitutes "Bahamian art" has greatly expanded into exciting territory, and both artists have a hand in that development.
Indeed in many ways, Lunn and Cox were very ahead of their time, yet with the invaluable guidance from great Bahamian artists before them - Jackson and Stan Burnside, John Beadle, Brent Malone, Kendal Hanna - the two have continued to shape the cultural landscape through mentorship of up-and-coming artists producing stunning work in today's artistic climate.
"I feel very excited about what's going on and very honored to have been a part of that," says Cox. "I think when Toby and I did that show in 1992, that work in the context of that period of time was pretty out there, really on the periphery of what was going on. It was not a mainstream show. But I think if we were to do that show now, it would be quite mainstream."
"I'm excited to think that Toby was at The College of The Bahamas twenty-something years ago with Stan Burnside putting wind in his sails, and nowadays Toby in his own way and me in my own way with my reaching at The College of The Bahamas put wind in the sails of young artists who are just killing it today," he continues.
"If we compare what we did in 1992 with the successful work they did this year for Transforming Spaces in 2012, it's unbelievable. I can't even believe first of all that they would think to take such risks and then actually follow through."
At one point, however, the pair - along with other notable contemporary peers like Heino Schmid - were making art with a similar kind of abandon at Popopstudios ICVA through collaborative exhibitions like "Love", "Exit" and "Exhibit A" that placed contemporary art at the forefront of the Bahamian imagination. Though Popopstudios has grown and changed in many ways since its establishment, having "20/20" displayed in the space is an exciting and poignant homecoming for the duo.
"I think those first shows, collaborative shows, were collective and interactive experiences," says Lunn. "I think even in the beginning though people didn't buy a lot of work, they enjoyed the experience. There was a lot of breakthrough work happening and investigating and you could feel the love."
"It's an example about how things can develop from an organic collection of energy and creativity and focus," adds Cox. "There was a rebellion happening, but not a deconstructive rebellion, more of a constructive rebellion - it's like, you know what? I don't really get that, and I respect what's happened, but I'm doing it this way, and you can either come along for the ride or you can not."
In creating that path off of the mainstream through their practices at Popopstudios, its creators unknowingly made one of the most significant contributions to advancing alternative visual art practices in The Bahamas through the last two decades. Yet Cox and Lunn know the conversation does not stop here, especially as the Bahamian art community continues to grow at a rapid pace with exciting new talent.
"I feel a little bit like it's a community conversation and I feel like the dialogue Toby and I had in the show was part of something bigger," says Cox.
"You know when you go to a baseball game and three people in the game will start chanting and clapping something, and then it's five, then it's ten, and then half the stadium is doing the same thing? I feel like that's been the metaphor for 1992 up to now," he continues. "You get this energy - and then it stops, which is probably a good thing before it gets commoditized and you can buy it at Target. That's when you know it's over."
o "20/20" opens Wednesday, December 19 at Popopstudios ICVA from 6-9 p.m. For more information, visit www.popopstudios.com.
The crane you see some 300+ feet in the air is part of the new skyline at LPIA these days, as work on the new 226,000 sq. ft. International Arrivals Terminal & Pier is progressing steadily at the Lynden Pindling International Airport. Stage two of the $409 million airport redevelopment project began back in March, with selective demolition of the old US Departures terminal.
Nassau Airport Development Company will again partner with Ledcor Construction and its Bahamian affiliate Woselee Construction to complete stage two. Ledcor/Woselee served as general contractor for stage one...
The Nassau Airport Development Company (NAD) confirmed yesterday that it has spent $32 million to date in contracts to Bahamian firms, as the $129 million second stage of the Lynden Pindling International Airport redevelopment project gets well underway.
"This figure represents 27.7 percent of the total value of construction contracts awarded so far for this stage of the project," said NAD's president and CEO Stewart Steeves.
Getting men to visit the doctor for annual screenings is akin to pulling teeth. But as many men come to the realization that taking care of themselves is essential to living longer, healthier and happier lives, they grudgingly do their screenings for diseases like diabetes, cholesterol and hypertension. And although they may have to be dragged fighting tooth and nail, many of them now even have their prostate, testicles and colon checked. But for many, the thought of having their skin checked for cancer is ludicrous -- even though they may be the very ones that spend hours on end in the sun without protection.
Being screened for skin cancer is the last thing on 42-year-old Darville Demeritte's mind. Just like most men, Demeritte's job entails that he spends hours in the sun, and he often finds himself engaging in recreational outdoor sports, but he never thought once about applying anything to his skin to protect it from the ultraviolet (UV) sun rays he exposes his skin to daily.
"I have heard about [skin cancer] but I know absolutely nothing about it," said Demeritte. "I never really thought it was that important to get screened for skin cancer before, but I do think I should look it up."
Demeritte said he would consider being screened for skin cancer because it is recommended that men take more precautions for it, much like they do with other diseases and other forms of cancers.
Skin cancer, the form of cancer that famous men like Bob Marley, Ronald Reagan, Regis Philbin and Clint Eastwood developed is one that medical professionals say should be taken seriously. Despite the fact that a large percentage of the population in The Bahamas is dark-skinned and as a result may feel they are not prone to skin cancer, this is only a myth, according to Dr. Rashmi Unwala, a dermatologist who has a sessional clinic at Doctors Hospital.
"Contrary to belief, dark-skinned people do have a susceptibility to skin cancer. Their chances may not be as high compared to persons with a lighter hue due to having an abundance of melanin (a natural pigment in the skin that protects against the sun's dangerous UV rays) in their skin, but the risk is still there, especially for those within this population who are fairer in complexion," said the doctor.
What is skin cancer?
Skin cancer is a broad term that encompasses several different cancers of the skin. The three most common forms are basal cell carcinoma, squamous cell carcinoma and melanoma. All are associated with sunlight or the use of tanning beds.
Of all the forms of skin cancer, basal cell carcinoma is the most common. It shows up as a pink or light-looking spot that may look like a pimple but will bleed very easily and can become very tender, according to Dr. Unwala. She said it slowly grows and destroys the surrounding tissue.
The next most common skin cancer is the squamous cell carcinoma. It is found in sun-exposed areas and is described as a red scaly, hard growth that can grow and destroy the skin but that also grows deep and involves the nerves and even gets inside the body if left untreated.
The third most common form of skin cancer is melanoma. This is considered the most serious form due to it having the highest possibility of being terminal. It can spread in the body and cause significant damage to other organs and promote other illnesses that can lead to death if the cancer is not detected and treated early.
Although skin cancers can happen to members of both sexes, the dermatologist said it most commonly occurs in males, due to the majority of men consistently not protecting themselves from the sun while doing the many outdoor activities they are prone to do -- playing sports like basketball, softball or football or if it's a work-related outdoor activity like construction, fishing or landscaping.
"Men in general should be concerned about their skin health and not ignore the signs of problems like uncommon moles or patches of skin that look irregular," said Dr. Unwala. "But before it even gets that far I would want men to just take the simple precautionary measures to protect their skin. There is no reason to get skin cancer if you do what you need to. Some cancers are genetically linked which means that some people are prone to developing it naturally, but it doesn't mean one shouldnt be doing what can be done to prevent it from occurring."
The dermatologist said the simplest way to protect against everyday skin damage that can potentially lead to cancer is to use a sunscreen lotion that at least has a sun protection factor (SPF) of 30. She said it is also advisable for men to make an effort to wear long sleeved light weight clothing and a hat with at least a three-inch brim when they know they will be outside in direct sunlight for long periods of time. If their job or hobby requires them to work outside she said they should try to do as much work as they can in a shaded area.
In general, she said if people can avoid being in the sun between the hours of 10 a.m. and 4 p.m. when the sun's rays are at their most powerful, that it would be an even better preventative measure.
And when protecting yourself, Dr. Unwala said the protection should be done properly.
"Many people do take protective measures against the sun, but it is not always done correctly because they are misinformed. For instance people think that if it is cloudy or overcast there is no need for sunscreen," said the physician. "This is not so because the sun's rays can still get through the clouds and cause skin damage. You can get a sunburn on a cloudy day. This means people should always wear sunscreen. Also many people believe their sunscreen is waterproof and they don't need to reapply after they come out of the water or sweat profusely. This is not true as there is no such thing as waterproof sunscreen. It will still need to be reapplied," she said.
"It is recommended that it be put on every two hours -- no matter the situation. It is also incorrect to feel that the higher the SPF on the label the better the protection."
The doctor said as long as a sunscreen is at least 30 SPF and has broad spectrum coverage it will protect just as well as sunscreens with higher SPFs.
"There isn't a significant difference between using an SPF 50 over an SPF 100. They both will cover more than 98 percent UVB. The protection doesn't go up the higher the number," according to Dr. Unwala.
How the sunscreen is applied is just as important. If you use too little sunscreen you won't get the protection you should. Dr. Unwala said the rule of thumb is that you need a full two-ounce shot glass amount for full body protection. And that the sunscreen should be applied at least a half an hour before going into the sun because it takes time for it to work.
"In the United States about one million people are diagnosed with squamous cell carcinoma and about 50,000 are found to have melanoma. These numbers are likely to be much lower in The Bahamas due to the much smaller population size and the fact that most people have darker complexions in the region," she said. "But this is no reason for people not to be wary of skin cancer and screen annually -- particularly men," said the doctor.
And even if it is outside their alloted time to do a physical if there is anything unusual happening with their skin, Dr. Unwala said men should be concerned enough to see their normal physician or dermatologist as soon as possible. She said the sooner something is detected and treated, the better the chances. And that even if it is a false alarm, in this day and age, she said it is better to be safe than sorry.
A skin exam by a dermatologist or other health professional should be part of a routine cancer checkup.
Men's Health Week is celebrated June 11-17 globally to heighten the awareness about preventable health problems, and to encourage the early detection and treatment of disease among men and boys. In The Bahamas, the awareness takes place over a month, to remind men that taking care of themselves is essential to living longer, healthier and happier lives. And for them to take the necessary steps to balance work, home and play.
Myths About sunscreen
Myth: People with dark complexions aren't susceptible to skin cancer and therefore don't need to worry about putting on sunscreens.
Truth: All people are susceptible to skin cancer although darker skinned individuals generally have a lower likelihood of developing skin cancer. Even so all people should wear sunscreen and protect themselves adequately since skin cancer can be genetically linked in some cases. Also in the average dark-skinned person, skin cancers can develop on the hands and soles of the feet where skin is lighter and constantly exposed to the sun.
Dispelling the myths about sunscreen
Myth: If it's overcast you don't need sunscreen.
Truth: You need sunscreen whether the sun is out or not. The UV rays can still penetrate the cloud cover and cause skin damage if you are out all day and skin is unprotected.
Myth: The higher the sun protection factor (SPF) number the greater the protection.
Truth: Once the sunscreen is at least 30 SPF and has a wide spectrum coverage the protection given is adequate. There is little difference between a sunscreen that says it has a 50 SPF or another one with 100 SPF.
Myth: If waterproof sunscreen is applied, it doesn't need reapplication after a person comes out of the water.
Truth: There is no sunscreen that is really waterproof. All need to be reapplied after heavy sweating or being submerged in water.
Myth: If sunscreen is applied at the beginning of the day, it doesn't need to be reapplied.
Truth: For sunscreen to properly work it has to be reapplied every two hours and in the proper amounts (two ounces for full body coverage). It should also be applied at least half an hour before being exposed to the sun.
How to protect oneself from the sun
Wear a sunscreen with an SPF of 30 or above daily and reapply in a timely fashion.
If you work outside ensure to do so in a shaded area.
If you are outside for long periods of time wear light weight long sleeved clothing and a hat with a three-inch brim.
Avoid being outside unnecessarily between 10 a.m. and 4 p.m. which are the peak hours of ultraviolet (UV) ray exposure.