NAGB Benefit Gala and Dance Performance by Carlito Catalano
Our son performed at the National Art Gallery of The Bahamas, Oct. 10th, 2026. It was a great success and well received. Thank you to all who have helped Carlito so far on this journey. Congratulations son. We are all so proud of you. Keep up the good work.
Video: ©A. Derek Catalano
Review written by Julia Rademacher-Wedd.
As I contemplated which shows to review this season, I wanted to be sure to see Indian classical dance. When South Asian touring companies come through town I always admire the precision, complexity, and expressiveness of their performances. Luckily, I did not have to wait for an answer, because the eighth Mandala Makers Festival was in full swing, bringing Chicago-based and international multidisciplinary South Asian performing artists to stages across the city.
Mandala South Asian Performing Arts, founded in Chicago by artistic director Pranita Nayar, connects audiences and students with the vibrancy of the performing arts traditions of South Asia. I went to see a night of Odissi classical dance on September 11 at Comrade Chicago. Performances featured Carlito Catalano, Colin Mascarenhas, Sigma Satabdhi, and Arushi Mudgal & Company. Taken as a whole, the evening showcased the depth and range of an art form which, drawing from a tradition that goes back thousands of years to the temples of the state of Odisha, is given continued life and relevance through its contemporary practitioners.
The first performer of the night was Carlito Catalano, who briefly contextualized the work, explaining that the type of dance he would perform, called sthai, brings the poses of temple statues to life through movement. He took the stage in bright orange pants and drew us in with sure footwork, sustained poses, and sweeping floorwork. I was especially impressed by his ability to maintain long balances while simultaneously changing the focus of his eyes. Read more>>
Hidden on the remote, wild northwestern coast of Andros Island lies Red Bays—the only historic human settlement situated on the western shore of the largest island in The Bahamas archipelago. Beyond its geographic isolation, Red Bays holds a singular place in Afro-Indigenous history: it is the end of the "Saltwater Underground Railroad."
While mainstream North American history often emphasizes freedom seekers traveling north toward Canada, hundreds of enslaved Africans and their Indigenous allies fled south into the Florida Everglades. Guided by courage and marine navigation, they risked a treacherous 150-mile voyage across the Gulf Stream to seek sanctuary in British territory. The community they founded in 1821 at Red Bays remains a living testament to Afro-Seminole resistance, self-determination, and cultural synthesis.
Perched atop a hill at the intersection of West and West Hill Streets in historic Nassau, Villa Doyle stands as one of the most significant architectural land markers in The Bahamas. Originally constructed during the American Civil War era as a symbol of colonial legal authority, the mansion evolved across more than a century of political, economic, and social shifts before falling into near-total decay. Restored through a visionary public initiative, Villa Doyle now serves as the home of The National Art Gallery of The Bahamas (NAGB), transforming a site of colonial aristocracy into an inclusive space for national artistic expression.
John Berkley “Peanuts” Taylor (June 20, 1935 – December 2024) stands as one of the most celebrated cultural icons, master percussionists, and show business pioneers in Bahamian history. Over a career that spanned seven decades, he elevated Goombay and Calypso music to international stages, appeared on global television broadcasts, and created a legendary nightlife experience through his landmark venue, The Drumbeat Club.
Our son Carlito will be performing overseas again. 🙂
Seeing
Odissi dancers command the spotlight in Chicago is a quiet reminder
that classical Indian dance belongs in the city's cultural conversation,
not on its margins. Join me in welcoming Arushi Mudgal, @Sigma Satabdhi Colin Mascarenhas Carlito Catalano
Every
mudra, every sculptural pose, every rhythmic step carries centuries of
artistry, yet it continues to evolve through the dancers who bring it to
life today. Here's to the artists making space, breaking expectations,
and showing that tradition isn't static—it's vibrant, relevant, and
deserving of the biggest stages.
More posts about Carlito
Stepping onto the narrow, golf-cart-lined streets of Dunmore Town on Harbour Island is less a journey in distance than a profound shift in time. Beyond the world-renowned blush of its pink sand beaches lies a built environment that serves as a living repository of the late eighteenth century. The defining feature of this landscape is the collection of Loyalist Cottages—quaint, pastel-hued wooden structures that have withstood centuries of intense Atlantic hurricanes, economic shifts, and social transformations.
Far from mere picturesque backdrops for modern travelers, these cottages represent a brilliant architectural synthesis: the blending of New England maritime building traditions with the harsh, unforgiving realities of a subtropical climate. They stand today as structural testaments to a complex colonial migration and the enduring craftsmanship of the Bahamian people.
A practitioner of Obeah is a person who works within a spiritual and folk-magical tradition that developed primarily among African-descended peoples in the Caribbean. Obeah has long existed in places such as Jamaica, The Bahamas, Barbados, Trinidad and Tobago, and Guyana. The Obeah practitioner occupies a mysterious and often controversial position within Caribbean society — feared by some, respected by others, misunderstood by many.
To understand what an Obeah practitioner truly is, one must look beyond horror stories, superstition, colonial propaganda, and sensational myths. Obeah is not merely “black magic,” nor is it simply a religion. It is a complex spiritual system, a cultural survival mechanism, a form of folk healing, a psychological force, and historically, a weapon of resistance against oppression.
The practitioner of Obeah is therefore not just a magician or sorcerer. He or she is often viewed as a healer, diviner, herbalist, protector, spiritual advisor, curse-breaker, counselor, medium, and sometimes avenger.
The worldview of the Bahamian people is shaped by a complex blend of historical experience, religious tradition, cultural pride, communal values, and political realities. At its core, Bahamian society is deeply influenced by Christianity, which plays a central role in shaping public morality, social expectations, and national identity. Christian beliefs and values are highly visible in Bahamian life, influencing attitudes toward family, ethics, governance, and social behavior. As a result, Bahamian society generally maintains conservative social values, particularly regarding family structure, marriage, and personal conduct.
