Bermuda's love affair with the arts has not only continued to flourish this year but also expanded to include the first Bermuda International Film Festival. Co-founder and chairman Aideen Ratteray Pryse said that the enthusiastic audience response confirmed that, in a world dominated by the Hollywood blockbuster, there is now a large response to independently made films. Showcasing a total of 14 feature-length and eight shorts, the Jury Prize went to the documentary "Family Name'', the Bermuda Shorts Award was given to "Anna in the Sky'' and "Boston Kickout'' voted first in the Audience Choice Award.

The sheer variety of artistic pursuits now involving the community either as participants or as spectators is nothing less than astonishing. The flip side to this good news is a hint, in some areas, however, that quality is being sacrificed for quantity. Signs of this have been evident for some time now, particularly in the fine arts world where the greatly increased number of shows has not necessarily resulted in corresponding standards of expertise.

Similarly, the musical/theatre scene has been busier than ever. And there, too, the inevitable lapping-over and consequent juggling of rehearsal times is already beginning to take its toll. Some productions, through no fault of the directors, suffered through under-rehearsal.

Asked for her reactions on the artistic and cultural events of the year, Cultural Affairs Minister Yvette Swan admitted to the rather pleasant fact that it was "extremely difficult'' to select favourites out of such a long list of events.

"I think that this time, I would really like to concentrate on our young people in the performing arts,'' she said. "So many of them have done so well, especially in the Premier's Concert which, once again, underlined the very real talent that is coming along.'' Singling out the young dancers who participated in The National Dance Theatre of Bermuda's production of "The Nutcracker'' for the Bermuda Festival, Dr. Swan commented that their excellence was matched by that of the Menuhin Youth Orchestra. "And I was especially impressed by the launching of the Bermuda Symphonic Orchestra under Shine Hayward -- very, very good.'' One of the great pleasures of her job, said Dr. Swan, is the opportunity given to listen to the many "excellent'' church choirs around the Island. "Also, the CedarBridge Academy Gospel Choir sounds really super -- I was most encouraged by that. Most of all, though, I'd like to commend the many students who are doing so well overseas, especially in the field of music.'' Mentioning Kenny Amis, her son Malcolm Brian Swan, Mandy Oatley and Deyonne Douglas, all of whom are studying music, the Minister affirmed her intention of keeping "in close touch'' with Bermuda's young people who are pursuing careers in the performing arts.

"I also thought that the special performance of singers from around Bermuda who came together to perform Handel's "Messiah'' (in the international concert in aid of the world's hospice movement) at Dockyard was really a wonderful occasion. I was also extremely proud that Marcelle Clamens did so very well at her first international singing competition in Italy.'' Soprano Clamens' success there was preceded by a thrilling concert, on completion of her degree in music from the University of Cincinnati, at St.

John's Church in June. In Sicily, she fought off competition from more than 60 singers to be placed, by an international panel, to win third prize.

There was an almost unheard-of honour for the gifted young Juilliard music student Mark Lomas when the world-famous English Chamber Orchestra, appearing in the Bermuda Festival, invited him to perform as their featured soloist in Finzi's "Five Bagatelles for Clarinet and Orchestra''.

It was also a year full of honours for Sharon Wilson, whose book of illustrations for the South African story, "Gogo Went To Vote'' drew praise from President Nelson Mandela -- as well as winning a clutch of awards that included the American Library Association's prize for a "Notable Children's Book'' and the Jane Addams Honour Picture Book Award.

An exhibition entitled "Timewrack and Tide'' by artist Daniel Dempster is currently on show at the Fulcrum Gallery in New York, and sculptures by Bermuda-born Bill Ming are also on show at The Bronx Museum and the Studio Museum in Harlem.

Also making a name for himself in the cut-throat competition of London's West End was Joell Froomkin. Initially hired as assistant producer at the Playhouse Theatre, he became, at 23, the second-youngest set designer in West End theatre history when he was asked to design the premiere production in Britain of Chekhov's "The Wood Demon''. He was then appointed as assistant director of "A Delicate Balance'' starring Maggie Smith and Eileen Atkin at the renowned Haymarket Theatre. With even more exciting propositions lined up for 1998, Mr. Froomkin's comment on his triumphant year was simply, "I've been extraordinarily lucky''.

Mr. Froomkin's rapid success was not altogether a surprise for those who have been following his meteoric student career thus far. This year he was entrusted with an ambitious production for the Bermuda Festival. The Gilbert & Sullivan Society chose Sondheim's "A Little Night Music'', a romantic yet highly sophisticated musical that has given many a professional company cause for artistic pause. The young director and scenic designer, however, seized with alacrity, the opportunity to stage a sumptuous and imaginative interpretation of this modern masterpiece. In a company whose strengths frankly tended toward the dramatic rather than the musical, James Burn brought his own special gifts to the fiendishly difficult score. All in all, an arresting production, made all the more exciting by the intense promise of these two youthful directors.

The 22nd Bermuda Festival also opened with a local production. This was the long-awaited National Dance Theatre of Bermuda's full-length version of "The Nutcracker''. Several years in preparation, and lovingly choreographed by David Allan, this production marked an important artistic milestone for this company which improves and greatly enhances its dance vocabulary with each passing year. Allan, who has earned a world-wide reputation as a choreographer, and has worked with this company on an ongoing basis since 1984, helped them achieve new and impressive heights.

On the whole, this year's Festival was a rewarding, if fairly unexciting one -- there was no "mega-star'' to head the bill. Ironically, the biggest "name'' -- The Vienna Boys' Choir -- proved to be the most disappointing in terms of content and quality. The Acting Company from America, on the other hand, gave an exuberantly vivacious account of Shakespeare's "As You Like It'', and Awadagin Pratt changed, perhaps for ever, the image of the traditional concert world when the young, dreadlocked artist launched into a stunning programme of classical music. There was the welcome return of The English Chamber Orchestra (under the brilliant young English conductor Charles Hazlewood) in two delectable programmes of music by Wagner, Mozart, Faure, Haydn and Copland. Also returning was Jackie Torrence, a popular storyteller from America who, this year, brought musicians John Cephas and Phil Wiggins to perform her spellbinding "Bluestory''.

The James Sewell Ballet came from St. Paul, Minnesota with a pleasant, if somewhat cliched perspective of dance vocabulary -- inevitable, perhaps in a repertoire that was choreographically almost entirely dependent on his work.

It needs (at least) a Balanchine, Ashton, Tudor or Tharp, to sustain an evening of dance devoted to one choreographer.

On the drama front, it was -- surprisingly, perhaps -- the Jabulani Repertory Company which earned the most bouquets. Their production of "I'll Be Back Before Midnight'' in November, celebrated its 20th production -- quite an achievement for a professional (i.e. paid) group which now presents a rotating repertoire of plays through winter and summer seasons at the Princess Hotel.

Producer Dusty Hind keeps a necessarily wary eye on the box office in his selection of plays, understanding that, to attract both tourists and local residents, he has to steer a middle road: hence, the predictable diet of popular comedies and "murder mysteries''. Most would agree, however, that within these parameters, the plays selected have generally been winners. Carol Birch gave an impressive account in the title role of "Shirley Valentine'' as did Richard Fell and Helen Coffey in "Educating Rita''. There was a very special magic, too, in the outstanding performances given by Elsbeth Gibson and Danjou Anderson who are still delighting audiences with the bittersweet charm of "Driving Miss Daisy''. For Ms Gibson, who began her 80th year by making a welcome and ever-graceful return to the stage in "A Little Night Music'', 1997 might be termed "Elsbeth's Year''. Long may she continue.

Jabulani has certainly done its part in the drive toward cultural tourism, as has the Princess Hotel in supporting this innovative approach to entertainment. Now, the Bermuda public needs to give concerted and active support to Bermuda's first, "home-grown'' repertory company.

With Jabulani apparently taking care of "popular'' theatre, there was every reason to suppose, and certainly hope, that BMDS would pull itself out of the artistic mire. This turned out to be a vain hope as the once-hallowed Society continued to plod along with a wafer-thin slate of lacklustre, pedestrian productions. True, they once again provided children with a tantalising taste of theatre with the annual pantomime at City Hall but, generally speaking, there is little evidence of any overall artistic policy. This is surely a sorry state of affairs for a group that has been bequeathed such wonderful technical resources in the shape of Daylesford. There is a certain irony that this superb little theatre, acknowledged as a gem of its kind has, once again, stood "dark'' for so much of the year. It is painful to record that apart from the annual play readings and a two-night musical evening (devised by Gaynor Gallant), only three productions made it to the stage. Sadder still, only Gareth Mahony's Irish-themed "The Song and the Story'' proved, artistically speaking, to have been worth the trouble. Let's hope that drama chairman Chris Edwards will remedy this situation and get some people on board who genuinely get a buzz from the idea that "the play's the thing''.

Kevin Bean followed on last year's success by staging another thought-provoking drama. This time it was Sam Sheppard's "Fool for Love'' which, although not quite as harrowing as "Extremities'', still concentrated on the darker side of human relationships. This time, Bean combined the starring role with that of director (assisted by Rotimi Martins), with Big Daddy Gates making an all too rare appearance on the Bermuda stage.

The Gilbert & Sullivan Society -- in spite of banishing that delectable duo into apparently permanent exile -- can never be accused of adopting "the safe and tried''.

Local arts scene: A glittering year In addition to "A Little Night Music'' which posed gargantuan logistical problems, the Society also staged "Little Shop of Horrors''. While this musical was comparatively modest in scope, it became an off-beat success, thanks largely to a committed cast skilfully directed by Keith Madeiros.

For reasons that are as yet unclear, The Bermuda Philharmonic Society has apparently suffered a serious financial setback. This was in part responsible for the cancellation of the annual Christmas Carol Concert (under conductor Graham Garton) in the Anglican Cathedral. Luckily, Kerry Haslam and Gaynor Gallant stepped into the breach to direct the Society's first sponsored concert at the Southampton Princess in which Ruth Thomas narrated the children's classic, "The Snowman''. Earlier in the year, Mr. Garton conducted Elgar's "Dream of Gerontius'', an expansive oratorio for choir and orchestra.

Once again, "Broadway in Bermuda'', the Two Island Productions' revue salute to the melodies of Broadway, stood out as one of the truly thrilling theatrical events of the year. Director Sheryl Keller's group of top New York performers, astonishingly well supported by a complementary Bermuda cast, provided a glittering evening of entertainment.

Also on the music scene, Jazzscape, featuring such international heavies as Nancy Wilson, David Sanborn, George Benson, Arturo Sandoval and Chaka Khan, was staged for a second time at Dockyard and lesser venues around the Island.

Heavily sponsored by the Department of Tourism in yet another attempt to boost tourist arrival figures, the October festival was voted an artistic success, although local artists were still less than impressed with their billing and exposure as was Dockyard's "Culturefest'' which complained about being relegated to the sidelines of those ancient walls.

The Bermuda Civic Ballet made its biennial foray into the beautiful grounds of Government House for its open-air production. This time around, they celebrated their Silver Anniversary by staging the charming, if rarely performed classic ballet, "Sylvia''. Former international principal dancer Laurence Haider was invited to direct and set this rarely performed Delibes classic -- a clever move by this group to finally recognise this former resident's creative choreographic approach to the balletic idiom. Despite a first-night downpour, the company, led by talented Bermudians Alexandra Duzevic, Alison Masters Smith and Sophia Cannonier, were able, in subsequent evenings, to give an impressive account of this charming narrative work.

"Kidfest'', created and directed by Paula Maguire, has produced superior theatrical entertainment for children for several years now. This former dancer whose belief is that "kids deserve the very best'' provided just that in another mini-festival of entertainment last winter. Sadly, she has now decided to suspend Kidfest for one year as she feels she has hit the "glass ceiling'' in terms of audience growth. If her programme is to continue, Mrs.

Maguire believes she needs Government as well as private support. Noting that these entertainments provide many children with their very first contact with live theatre, she explains, "I want to take this programme into the schools to reach as many young people as possible. It's almost impossible to get a suitable venue. I do feel very strongly, however, that our kids deserve an even playing field on the cultural scene.'' There was an almost giddying display of art on view this year.

Masterworks celebrated their first decade with a particularly rich programme that underlines their commitment to education; they have adopted a strikingly "hands on'' approach, taking art (and a Masterworks colouring book) off the walls and into the schools. Workshops for young artists continued throughout the year as well as a special summer programme.

One of the most outstanding shows of this year was their special Tenth Anniversary Exhibition at the National Gallery. Immensely popular with both local and foreign visitors, this show demonstrated in no uncertain manner, the importance and potential worth of the Bermudiana collection to the Island's tourism industry. In a project which, in a sense, brings the Masterworks philosophy full circle (i.e. "bringing home'' Bermuda works of art), the Foundation opened the Terrace Gallery to house their new Artist in Residence programme. "By this means,'' said director Tom Butterfield, "we continue to bring overseas contemporary artists to paint their particular vision of this beautiful Island and to become Bermuda ambassadors.'' The Arts Centre at Dockyard has chalked up another very productive year. Their policy of staging "themed'' shows which, says curator Julie Hastings-Smith, "galvanizes artists into experimentation'', has proved both successful and popular and included such topics as "Doll Artistry'', "Open Spaces'', "Fibre Art'' and "All That Jazz''. Workshops, too, have formed an integral part of the programme and included such diverse subjects as silk screen printing, linocuts, drypoint, monoprinting, collagraph printing and the art of "painting with a knife''.

The Bermuda National Gallery, now in its sixth year, also had an extremely full year, beginning with John Adams' superbly curated "Through British Eyes'', placed on show after being exhibited at the Morgan Library in New York. There was also a fascinating show dedicated to photographs of Martin Luther King and the Civil Rights Movement by Flip Schulke. While the entire Watlington Collection, which forms the core of the Gallery inventory, was fully restored, two historically important Bermudian portraits by 19th Century artist Joseph Blackburn were acquired, thanks to the continuing generosity of Fay and Geoffrey Elliott.

The popular lunch-time programmes expanded this year and besides Maurine Cooper's ever-popular painting lectures and slide shows, included such diverse events as Andrew Trimingham speaking on architecture and John Adams on 19th Century Bermuda, Richard Fell reading Raoul Dahl, various musical presentations and a playreading of "Four Queens Wait for Henry'' and, as the festive season approached, Ruth Thomas and Friends concentrated on Bermuda Christmas Traditions in her "Mosaic'' series.

As the Gallery entered its sixth year, Royal Gazette Editor David L. White replaced Louise Jackson as Chairman. The resignation of Bonnie Dodwell after nearly six years as assistant director, will be a huge loss to the gallery.

Local arts scene soared Wearing her academic background lightly, she has been largely responsible for the Gallery's educational projects as well as marshalling their very successful volunteers programme.

"Light, Air and Colour: American Impressionist Paintings from the Collection of the Pennsylvania Academy of the Fine Arts'' proved to be one of the finest ever mounted by the Gallery. As Mr. White observed, the institutation has come of age with a major international show of great beauty and importance: "People who do not see these works are missing out on a rare experience.

Bermuda may not see the likes of this for years to come.'' Please note that this marvellous show may still be seen -- it closes on January 9.

The Nicholas Lusher Fine Art Gallery ran a complementary impressionist show and at The Windjammer, some of Bermuda's leading painters placed the emphasis on contemporary impressionism. Heritage House staged an interesting show that highlighted English painters, ending the year, as usual, with their popular "Small Paintings'' exhibition.

Outstanding solo and group shows have also included the excellent biennial "Growing'' show which, together with Graham Foster's complementary show in the Edinburgh Room, provided the City Hall Galleries with its biggest night of the year. Steven Masters's solo show at The Windjammer was another major event on the artistic calendar.

The Bermuda Society of Arts -- Bermuda's oldest art society -- has had a less satisfactory year to date. Under the leadership of first, Maria Smith and then Elmer Midgett, the Society seemed all set to embrace a new era of creative endeavour. Under this year's new and obviously inexperienced Board, parochialism seems once more to be the order of the day and a naively expressed wish to "paper the walls with art'' has ensured mediocrity rather than raising standards -- which should surely be the aim of a Society which happens to be the principal showcase for Bermuda's artists.

Bermuda's xenophobic tendencies again rose sharply to the surface when a fully qualified arts critic dared to actually criticise the state of art in Bermuda.

The ensuing yelps of outraged indignation were predictable, of course, but Gareth Finighan's reviews have been recognised by far many more as a much needed, fresh pair of eyes that are unglazed and unphased by local notions of artistic grandeur. In the meantime, people were flocking to see the Society's show to find out for themselves what all the fuss was about -- another indication that his reviews have generated an unusual degree of interest -- even among those who normally avoid art shows of any kind.

Finally, this was the year in which we bade an affectionate and grateful farewell to Ruth Thomas who retired after nine years as the Island's first Cultural Affairs Officer.

VISIONS OF BERMUDA -- "Holidays, c. 1915'' (above) by Howard E. Giles, one of the paintings featured in the Bermuda National Gallery's "Light, Air and Colour'' from the Collection of the Pennsylvania Academy of the Fine Arts and Houghton Cranford Smith's "House with Green Door, Bermuda'', (left), one of 13 loaned oils by the artist currently on view in the Masterworks' collection at Bermuda National Gallery.

SHIRLEY VALENTINE -- Carol Birch in pensive mood during a scene from the smash hit, one-woman drama staged by Jabulani Repertory Company.

CENTRE STAGE -- Soprano Marcelle Clamens (left) soared at an international singing competition in Italy while the legendary George Benson (above) jazzed up the Dockyard during Jazzscape.