It was a year or more ago that I first learned about the new National Art Gallery of the Bahamas (NAGB); however, it was only months ago that I was finally able to access their website.

When I did, I wondered if I was experiencing some kind of media hype. I could hardly believe what I was seeing. The building pictured appeared unbelievably grand. Could its claims live up to actual reality? If what I saw was true, I wondered how the Bahamians were able to accomplish and finance it. I was determined to find out.

Having been involved with the team that brought the Bermuda National Gallery to fruition, I am aware of the continuous needs of such institutions, as well the difficulties in actually getting it established. It was in my thinking that in visiting the National Art Gallery of the Bahamas and meeting its director, I could do so from the vantage point of my own experience. I would be in a position to compare notes and ask the right questions.

Recently, I was able to carry out this visit and thus can report that the National Art Gallery of the Bahamas is everything it claims to be. It is housed in an historic villa near the centre of Nassau, but despite being in such an edifice, it is essentially a purpose-built art museum. As I understand it the building, when purchased, was in a ruinous condition.

It took almost seven years to restore, but when doing so, the architect, while sensitive to the need of restoring an historic building, was also able to meet the requirements of an up-to-date art museum, such as appropriate climate control, proper lighting, storage, work space and even handicap access throughout the building.

There is also an art library that provides for the research needs of the gallery, as well as the larger art community. Additionally, there are ten exhibition galleries, which is, at least, double the exhibition space of the Bermuda National Gallery.

How was this accomplished? The gallery's director, Erica James said that she still finds it hard to believe the National Art Gallery of the Bahamas is a reality and that it seems almost a miracle. The facts are the Bahamian Government under the leadership of Prime Minister Hubert Ingraham thought such an institution would assist in nation building and thus underwrote the purchase and restoration of the building and then provided a substantial annual budget for the ongoing running costs of a national gallery.

The Prime Minister and his Government also anticipated that the NAGB would become a showpiece for tourism. It should be noted, however, that the NAGB is a partnership museum, for although the Government does provide a large amount of its financial needs, the community also has a substantial part to play in funding it. The Government, by playing its part, sets a prime example, however.

The National Art Gallery's daily activities are carried out by a staff of ten. These include the director and chief curator, a graphic designer and marketer, an education officer, the art librarian, a collections manager, an event coordinator and the store manager, plus additional support staff.

Ultimately, the NAGB is the responsibility of a board of directors. Each board member is appointed for a term of three years. Serving on the present board, are such individuals as the director general of tourism, the director of culture, the director of archives, the director of Antiquities, Museums and Monuments Commission, the president of the College of the Bahamas, as well as the director of the NAGB, Dr. James. The chair of the board is Gail Saunders, director general of heritage.

What has been the tangible benefit of the NAGB to the Bahamas? Dr. James suggests that it has become a catalyst for greater creativity in the art community. Furthermore, the NAGB has finally been able to show its art collection, plus examples of contemporary Bahamian art, in an appropriate gallery situation. Additionally the NAGB, through its education programme, has been able to reach out to the community by having artists along with students produce murals for the community or in the schools, this, along with the planting of trees, to enhance and beautify their respective neighbourhoods.

In order to put this achievement in some kind of perspective, however, it might be useful to learn what is happening elsewhere in the Caribbean. Consider Barbados: Bajan artists have been seeking a National Gallery for at least fifty years and a serious National Gallery Committee has been in place for a decade or more, but they seem no nearer achieving their goal than when they began.

Recently the Prime Minister there said that a national gallery was a major undertaking on which we have to build consensus. He went on to say that it is not immediately attainable. This appears as "politician speak" and essentially, it seems that he has not understood how such an institution can benefit the community.

There is a national gallery in Jamaica, but so far they have had to make do with a building that was designed for other purposes.

The Cayman Islands do have a space of some kind, but the good news there is that they have acquired an appropriate piece of land and have most of the funds in hand, to build a purpose-designed gallery. They appear to be funding this endeavor by private means, however.

There is also some kind of national gallery in Trinidad, but it appears to be in conjunction with a more general, national museum, that includes, history and natural history. Elsewhere, in the English-speaking Caribbean, not much seems to be happening.

Here in Bermuda, our national gallery has been successful beyond what most, twenty years ago, could have imagined. What has been achieved, however, has been done, despite inadequate office spaces, the lack of suitable storage and preparation spaces or even a members lounge and proper art library, not to mention the critical need for more exhibition galleries, or the fact that our small staff is stretched beyond what any decent organisation should allow.

As to why, the answer is simple. The lack of support and funding, especially by Government and I know that the BNG is not the only nonprofit cultural organisation to be suffering. The amount designated by Government for the support of these organisations is embarrassingly meager.

The fact is, these very organisations are needed in the revival of tourism, as well as in educating our own young people to the many creative achievements of Bermudians.

What can cultural tourism do for a community? It is known that in such cities as New York, many more people attend cultural events than sporting events, and this is our largest tourist market. New York, itself is the cultural Mecca of America and that draws millions of visitors annually. It generates billions of dollars for the city.

Five hundred years ago, enlightened patronage of the arts in Florence, Italy, has paid off handsomely. Again, the arts attract millions of visitors. Culture is big business.

The Government of the Bahamas has set a fine example. They have seen how such organisations help bridge the disparate facets of a community, as well as provide a place to showcase the best of a community. Should we be doing any less?