By:
THEA RUTHERFORD, Guardian National Correspondent, thea@nasguard.com

Long before the
National Arts Festival was named in his honor in 2005, the late
E. Clement Bethel had been a national champion of the arts.
Inside all children lives some sort of talent, some sort of treasure of the ears or eyes or mind. And knowing this, Edward Clement Bethel always sought it out. A classically trained concert pianist himself, he teased beautiful music out of children still young enough to play in the streets, and molded their natural talents into awe-inspiring works of art. Beauty came after people had been stretched beyond what they had limited their own natural capacities to.
"He always said children will do anything you challenge them to do if you nurture them and support them, and it was amazing the music he would get out of these youngsters," said his widow Dr. Keva Bethel.
As a man who strived on testing the elasticity of musical talent in others, Bethel spent a gulp of his relatively short life spreading himself generously across the surface of arts and culture in The Bahamas.
Penetrating this colorful surface almost daily, Bethel unearthed the power of culture and the arts to move the human spirit to greatness. He wove what he found into the choirs he directed and entered into the Music Festival (which eventually became the National Arts Festival), into the students that he nurtured and into the works that he composed and preserved. He did all of it with a sense of urgency, the shadow of early death hovering over his shoulders. His family had suffered from a congenital kidney illness, and his own father had died at the age of 39. He would outlive all but one of his five siblings.
"This whole specter of potential early death gave him a tremendous sense of urgency about doing what he wanted to do – realizing the dreams that he had not only for himself but for The Bahamas in terms of artistic expression," said Dr. Bethel.
There was lots to do, a whole generation of people to draw notes out of, to keep invaluable cultural traditions alive.
Bethel was awarded a scholarship from the Bahamas Government, which he used for advanced studies in piano and composition at the Royal Academy of Music in London in 1957. He would later receive a Fulbright-Hays Fellowship to pursue a Master's degree in ethnomusicology at the University of California Los Angeles in 1976.
By the time he returned to London to study piano performance in 1964, he had married his wife Keva and had one young daughter Nicolette. When he returned at the end of his studies, he saw his 7-month old son Edward for the first time. "He was extremely attached to his family," said Dr. Bethel. "He loved his children. He loved me."
Bethel's love was deep and filled with contagious laughter. Even as he lay in his hospital bed before his death in 1987 at the age of 49, his widow remembers the way he would make the nurses laugh. "He loved people and was interested in them," she said.
His interest easily translated into an ear for talent and a commitment to national development, crystallized by the excitement of the Independence era. His choirs of singers of all ages were cannons of cultural pride for an infant nation crawling onto a battlefield of social change.
"In a sense it was an extraordinary privilege for people of our generation to have this very unique opportunity to contribute to these important social movements, and to watch so many things unfold that had not been possible before."
Ever the classical pianist, Bethel performed a number of concerts throughout his life. He also conducted orchestras and had directed the Nassau Renaissance Singers. He authored the evolution of his own work "Sammie Swain," a ballet that he wrote in 1968 for the Cultural Olympics held in Mexico City. The work became a folk opera that was performed during the Independence celebrations a few years later.
Bethel served the education system for most of his life. He taught at the primary, secondary and tertiary levels before becoming education officer for music and eventually cultural officer.
"He got school bands in most of the high schools. In the primary schools they got a lot of instruments. And he fought to have specialist music teachers in all of the schools." Bethel also established the National School of Dance.
As an adjudicator for the National Arts Festival, he witnessed talent around the country first-hand. "One of the things that was very, very significant for Clement was going around for the adjudication for the National Arts Festival to all the different islands of The Bahamas. He became very, very enamored of his country."
He was appointed director of a newly formed Department of Cultural Affairs, a post he occupied until his death.
The arts permeated Bethel's life and colored his friendships. And in his earlier life he dabbled in them all. He painted. He wrote.
As dawn began to fade on the life he always suspected would come to an early end, he said to his wife: "I've actually lived longer than I thought I probably would ... I have done most of the things that I would have liked."
By that time, Bethel had already triggered a never-ending salute to the omnipotence of music and the immortality of the arts in the country that would outlive generations.