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Caribbean Intransit fifth issue : Calls for papers

The concept of Caribbean Intransit is to provide a creative meeting place for Caribbean artists to share their thought-provoking ideas and works within a community of cultural producers, students, scholars, activists, and entrepreneurs. The Caribbean Intransit platform functions as a point of access for these individuals and groups, who in turn will then be able to use these resources as socio-political tools for progressive change within the Caribbean and its multiple diasporas.

Each issue of Caribbean Intransit showcases the views of a range of artists, academics and  entrepreneurs concerning a particular theme. Participants are invited to submit works and connect with other contributors through response to their work. In this way, we hope to build a community invested in networking and creating new spaces for growth. We aim to identify community, artistry and entrepreneurship as modes of transition and connection for the Caribbean and its Diasporas.

 CARIBBEAN INTRANSIT Vision:

To foster a community of research and entrepreneurship related to artistic endeavors emerging from Caribbean cultural expressions of identity 

 Please visit our website for submission guidelines

 For more information on the journal: Calls for Papers for other issues, editorial team and Guest editors please visit our website at http://www.caribbeanintransit.com

Join our Facebook page https://www.facebook.com/caribbeanintransit

Subscribe to our newsletter to receive Calls for works and free e-copies of each issue. http://caribbeanintransit.com/current-issue/

  ISSUE 5: ANTITHESIS/SYNTHESIS: FINE ART AND CULTURAL HERITAGE

 Caribbean Intransit Issue 5

Antithesis/Synthesis: Fine Art and Cultural Heritage

DEADLINE: APRIL 15TH 2013

 Are expressions of “fine art” and “cultural heritage” mutually exclusive, beneficial and/or interchangeable? There are a plethora of terms that seek to distinguish arts connected to “heritage” including such performance based genres as carnival regalia, genre paintings such as those created by Amos Ferguson and utilitarian arts such as basketmaking or fashion, from the arts taught historically in the academy- painting or sculpture.

The K2K alliance in Trinidad and Tobago, which combines carnival costume design with high fashion, and the exhibition of Junkanoo costumes in the Bahamas National Art Gallery space, are recent initiatives that urge further thought on these interactions between the fine art and cultural heritage. K2K and National Art Gallery of the Bahamas demonstrate that through contemporary art practice these categories are being subverted, blended, and may not even be sensibly employed. These c oncerns are poignant for artists practicing within the Caribbean and in the Diasporas. What does this mean for Caribbean and Caribbean diaspora artists accessing “heritage”? This fifth issue of Caribbean InTransit takes up the intersections between forms of the fine arts, including visual and performing arts, and cultural heritage.

According to the International Council on Monuments and Sites (ICOMOS) definition, cultural heritage is “an expression of the ways of living developed by a community and passed on from generation to generation, including customs, practices, places, objects, artistic expressions and values. Cultural Heritage is often expressed as either Intangible or Tangible Cultural Heritage “(ICOMOS, 2002). Such broad definition encompasses value systems, traditions, lifestyles and beliefs, while constructions such as monuments, architectural works, sculpture and painting may also be registered as cultural heritage sites by UNESCO (1972 Article 1). These vague understandings blur the borders between neat categorizations of the fine arts and cultural heritage and lead to a host of questions and concerns that we seek to address in this issue.

 How do artists and artisans amalgamate the categories of fine arts and cultural heritage and what is gained or lost by so doing? What might these mergers say about global postmodernism, our historical moment in the Caribbean, or a regional Caribbean aesthetics? Such concerns may also raise questions about the ways art is defined, catalogued, presented and practiced in the Caribbean. How does the region mediate Afro, Indo, Euro, Amerindian and other conceptualizations of art? And what is the role that artists, cultural workers, cultural organizations and cultural policy may play in transforming how the arts and culture are considered, characterized and taught in the Caribbean?

 For this issue, we seek artistic works, collaborative practice, essays, music, dance and dialogues that address the above mentioned considerations. Work that reconnects shared heritage(s), attempts re-constructive dialogue(s) and probes the invisible and anonymous past(s) of post-colonial realities that determine how we practice art(s) and culture(s) are welcome. Suggested themes include but are not limited to:  

Arts and Cultural Heritage Policy

Practices of Arts Institutions in the Caribbean

Dialogues with the Colonizer/Colonized

Invisibility/Anonymity

Reclamation, Re-adoption and/or Repatriation

Private and Public Goods

Inheritance

Archaeological Heritage

National, Regional and International Agencies (including UNESCO, CERLAC)

Diasporic Heritage

Art History/Conservationist approaches to Heritage

Cyber-Heritage

The Heritage of Consumption

Cultural Heritage and Urban Space

Living Digital Archives

Exhibitions of Oral Histories

Transnational Artistic Practice

Interrogating categorizations: fine arts, folk arts, “heritage arts” craft, and tradition

 We welcome 4000-5000 word essays, in English, Spanish or French. Artwork, music, dance,

poetry, mas or junkanoo designs or any other artistic expression with blurbs in English,

French, Spanish, Dutch, dialect or creole are welcome as well as films in any language with

subtitles in English. Fiction or non-fiction writings in English or dialects will be accepted.

Writings in dialect should be accompanied by a translation of terms. Research papers on

visual or vocal modes of expression as well as interviews of contemporary artists in English

are also welcome.

ALL Submissions should be accompanied by the following in one document in this

order:

*Name

* Professional affiliation

* Contact information

* Title of Attached manuscript

* keywords, at least 3 (essays only)

*an abstract of not more than 150 words (essays & interviews only)

*a biography of not more than 60 words

* A professional photograph of yourself (optional)

 Essays, Interviews and Reviews:

Text including endnotes must be in Microsoft Word format (double-spaced, in a readable font)

and images in jpg. format. Titles in the body of the text should be italicized with section titles

in bold. All essays must have accurate bibliographies. MLA format should be used.

Video/sound clips can be sent via e-mail or on CD/DVD.

Word limits for various submissions are as follows:-

 Academic papers: 7500 words

Reviews: 3000 words

Profiles/Essays on Artists and Art Work: 1000-1500 words

Upcoming Events/Releases/Shows or highlights from arts organizations: 100-250 words

 Submit your work via the Submissions tab on our website.

http://www.caribbeanintransit.com/submissions/submit-work/

Any queries should be emailed to: citsumbmissions@gmail.com and cc to

caribintransit@gmail.com

 

DEADLINE: APRIL 15TH 2013

Please see our Submissions Guidelines on our website for more information

 

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