Biennials & Art Practices in the Caribbean

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Title:
Biennials & Art Practices in the Caribbean
Abbreviated Title:
Caribbean InTransit Symposium
Physical Description:
9inches x 11 inches
Language:
English
Creator:
Caribbean InTransit
Publisher:
Caribbean InTransit
Place of Publication:
Virginia
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Subjects / Keywords:
Caribbean Area   ( lcsh )

Notes

Abstract:
Caribbean InTransit is committed to the development of socially responsible, environmentally conscious art practices for the Caribbean. We seek to create opportunities for partnership, dialogue, strategic and tactical planning toward sustainable avenues for Caribbean Arts practice. Recognizing the glocal nature of the Caribbean situation,Caribbean InTransit uses Keith Nurse’s notion of brain circulation as a premise for approaching Caribbean development through the arts. In furthering this notion Caribbean InTransit not only brings together persons from across the Caribbean and Diaspora but seeks to cross linguistic barriers as well as social and occupational divides, functioning as a mediator or intermediary in bringing together artists, policy makers, scholars, arts activists, arts administrators and curators from across the Caribbean and its Diasporas. This symposium brings together a range of scholars and practitioners.
General Note:
Biennials & Arts Practices was conducted in conjunction with the Smithsonian Centre for Folklife and Cultural Heritage.

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Source Institution:
George Mason University
Holding Location:
George Mason University
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This item is licensed with the Creative Commons Attribution Non-Commercial No Derivative License. This license allows others to download this work and share them with others as long as they mention the author and link back to the author, but they can’t change them in any way or use them commercially.
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Review of Biennials & A r t Practices in the Caribbean Written by Marielle Barrow July 2012 "Biennials and Art Practices of the Caribbean" brought a wide array of experiences, projects and concerns into focus. The event was hosted by Caribbean InTransit in partnership with the Smithsonian Center for Folklife and Cultural Heritage (CFCH) on June 28 th 2012 at the CFCH as a fringe event to the Folklife festival. It was also in celebration of Caribbean American Heritage month and listed in the calendar of the Allspice Festival of Arts & Humanities. The event included presentations via videoconference and invited respondents to submit three questions to moderators for advance consideration facilitating a wider cross section of voices and issues from across the Caribbean to be heard. The richness of the presentations and questions by audience members pr esent in person left little room to engage all of these questions, however they remain as effective structural points around which the conversation can be furthered via social media.

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The four panels were designed in an effort to bring policy makers, ar tists, academics, activists, curators and administrators together from across the Caribbean and its Diasporas. Forging collaborations and synergies would begin to establish a web as a framework for imagining a calendar of joint or collaborative events lead ing up to a trans national affair. Jose Ortiz, Executive Director of Artisphere, an arts center funded by Arlington County which boasts multiple gallery and theatre spaces, was the key note speaker who opened the event with his presentation entitled "Art E very Day: Building Community Through Artistic Collaborations". He highlighted the Artisphere project "Art Every Day", an interactive public art initiative imagined by artist Linda Hesh. The project was about art in everyday life and invited members of the public to share their impressions of art within the everyday routines of life. Moderator of the first panel was esteemed Director of Cultural Heritage Policy, James Early who encouraged the audience to think on what actions open us to cultural policy pe rspectives and how our practices can help to shape cultural policy. He proposed Norman Girvan's recent work Pan Caribbean Perspective: colonialism, Resistance and REconfiguration as an effective tool in helping us to reflect on these questions. Ambassad or of Trinidad & Tobago to the USA, Dr. Neil Parsan noted that with 35 million persons in the Anglophone Caribbean and 17 million in the Dutch, Francophone and Hispanophone Caribbean, our nations are often disadvantaged based on population numbers. Dr. Pa rsan noted the Carnivals derivative of Caribbean Carnivals worldwide including Caribana, Labor Day celebrations, Notting Hill, Calibar Carnival, Nigeria, Baltimore, Washington DC, Miami, Houston and L.A and engaged the audience in understanding these ceded Carnivals as reciprocal forms of tourism. He also noted how education fits within this rubric. Ivor Miller, cultural historian and Senior Fellow at the Smiths onian National Museum of African Art presented on Cuban art. He discussed various interpretations of Cuban artist Alfredo Lam's work by communities as compared to its academic interpretations. Miller argued that the paintings signal an invitation to join the community in order to understand the true significance of the imagery within the paintings. Diana N'Diaye, curator at the Center for Folklife and Cultural Heritage was the final presenter for the first panel. Dr. N'Diaye presented concerns of the Smith sonian Folklife Festival with a presentation entitled "Reuniting the Family: Learning from the African Diaspora Presentations at the Smithsonian". She emphasized that the festival's focus on people rather than objects allows curators, festival staff and sc holars or other experts to work reciprocally with cultural practitioners form communities around the world. The festival aims to provide a space for intercultural dialogue. The Will to Adorn Project is the festival project for 2013, it is a "multi year col laborative research and public presentation initiative focused on the diversity of African American identities as communicated through the cultural aesthetics, arts of the body and dress and adornment". The theme for the project was inspired by anthropolog ist

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Zora Neale Hurston's observation that the "will to adorn" is a central feat ure of African American culture. James Early re iterated this process of engagement as one that allows culture to inform cultural policy from below obviating a top down approa ch that is at odds with community practices. In concluding the panel, Early outlined the structure and mandate of the Smithsonian. With nineteen museums and nine institutions and as the largest body of museums in the US, the Smithsonian is a public trust, stewards of the treasures of culture entrusted to them. "Thematic Inquiries, Art and Programming Techniques" was the second panel that included, Tatiana Flores, Independent Curator and Assistant Professor in the Department of Art History and Latino an d Hispanic Caribbean Studies at Rutgers University,Tom Ashcraft, Visual Artist, Associate Professor, Head of Sculpture, School of Art, GMU and Jorge Porrata, lecturer at the School of Art, GMU. The panel was moderated by Peter Winant, Associate Director, S chool of Art, GMU. Winant invited the panelists and audience to consider issues surrounding the notion of intervention. Flores presented a scholarly investigation of artisitic practices and themes while Ashcraft took the audience through the process of Wor king Man Collective's engagement with communities. The triad was completed by Porrata's artistic intervention into the symposium as an artistic practice by engaging audiences in a work of performance art. Panel 3 Power, Politics and Ideologies" was mod erated by artist and curator M. Liz Andrews, who greeted the audience with the singing of a negro spiritual Sometimes I Feel Like a Motherless Child". Her message was of the profound moment of intervention that these spirituals provide in harnessing the power of a people. Andrews posed a significant question that served as an underlying provocation for panelists presentations. how can art be used to address structures of power within and from outside the Caribbean?". Leah Gordon presented concerning t he Haiti Ghetto Biennial as aSalon de Refuse for the 21 st century. The event was motivated by the fact that often Haitian artists were allowed to and even invited to participate in exhibitions abroad but were denied visas to travel for the opening of the se shows. The idea of salon de refuse signifies a refusal of the na•ve label while registering a refusal of conventional art knowledge. Arthur Garcia brought together critical issues of design and crisis as central concerns. His innovative and dynamic bu siness model integrates the client into the process of design while taking a holistic approach to the project "What is the space of transnational Caribbeans'? was the provocative question raised by artist and Fellow and the Smithsonian American Art Mus eum, Lara Stein Pardo moderator of the final panel. Curator and General Manager of Art Labour Archives, Alanna Lockward presented concerning the notion of a "de colonial aesthetic". A group of artists and thinkers signed the De colonial Aesthetics Manife sto on February 14 th 2011 at an occasion furnished by the Transnational Decolonial Institute. Her presentation framed the exhibition Who

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More Sci Fi than US as a parallel initiative to the manifesto while illustrating the non Newness" of this aesthetic. Panelist Tatiana Flores questioned the use of the term aesthetic in its reference to non western artistic practice but the issue remained, how does one contest legacies without deploying the terms of a legacy. Christopher Cozier, artist and curator Mariel le Barrow, Editor in Chief of Caribbean InTransit and Marcel Wah, Edito r in chief of CAW magazine were the final presenters of the symposium. Barrow's presentation entitled Caribbean Arts: Trans national Development Practices" asked how through trans national Caribbean practice do we ensure our contribution to an evolving Caribbean cultural policy and enable sustainable development of communities through the arts?" Marcel Wah spoke of the move to a cultural economy and elaborated on the current streng ths and weaknesses of the Caribbean arts industry. Christo pher Cozier presented via video conference concerning the dual structures that Caribbean artists are forced to negotiate. It is proposed that the event proceedings be collated as a text. The sympo sium provided a platform for persons invested in the Caribbean arts to present their approaches and concerns and discuss modes of synergy and collaboration.



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Biennials & art practices In the Caribbean CARIBBEAN INTRANSIT

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ABOUT CARIBBEAN INTRANSIT Caribbean InTransit Arts Journal is a global initiative that seeks to foster a com munity of research and entrepreneurship related to cultural and artistic endeavors emerging from the Caribbean and its Diasporas. It is the only open access academic journal focused on the Caribbean Arts. The journal welcomes academic papers, reviews, interviews and works that strad dle these forms. Artworks are also invited including but not limited to poetry, music, architecture, dance, lm, photography and ne art. The journal also features papers in Spanish, French and Dutch. In addition to an Editorial and extended team from around the Caribbean and its Diasporas, Guest Editors who are established scholars are invited to edit each issue. This ensures a global reach for the journal. Thus far our Guest Editors have been from or based in the following countries: Trinidad, Jamaica, Canada, Barbados and Germany. Caribbean InTransit is dedicated to supporting and ensuring the development, inter rogation and showcase of the Caribbean arts. ABOUT THE SMITHSONIAN CENTER FOR FOLKLIFE AND CULTURAL HERITAGE The Smithsonian Center for Folklife and Cultural Heritage is dedicated to the collaborative research, presentation, conservation, and continuity of tradi tional knowledge and artistry with diverse contemporary cultural communi ties in the United States and around the world. The Center for Folklife and Cultural Heritage is a research and educational unit of the Smithsonian Institution promoting the understanding and continu ity of diverse, contemporary grassroots cultures in the United States and around the world. The Center produces the Smithsonian Folklife Festival, Smithsonian Folkways Recordings, exhibitions, documentary lms and videos, symposia, publications, and educational materials. The Center conducts eth nographic and cultural heritage policy oriented research, maintains the Ralph Rinzler Folklife Archives and Collections, and provides educational and re search opportunities through fellowships, internships, and training programs. The Center also produces major national cultural events consistent with its mission. BIENNIALS & ART PRACTICES IN THE CARIBBEAN June 28th 2012, 11:30am7:00pm Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave. SW Suite #2001 Washington DC 20024

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BIENNIALS & ART PRACTICES IN THE CARIBBEAN June 28th 2012, 11:30am7:00pm Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave. SW Suite #2001 Washington DC 20024 Caribbean InTransit is committed to the development of socially responsible, environmentally conscious art prac tices for the Caribbean. We seek to create opportunities for partnership, dialogue, strategic and tactical planning toward sustainable avenues for Caribbean Arts practice. Recognizing the glocal nature of the Caribbean situation, Caribbean InTransit uses Keith Nurses notion of brain circulation as a premise for approaching Caribbean develop ment through the arts. In furthering this notion Caribbean InTransit not only brings together persons from across the Caribbean and Diaspora but seeks to cross linguistic barriers as well as social and occupational divides, function ing as a mediator or intermediary in bringing together artists, policy makers, scholars, arts activists, arts administra tors and curators from across the Caribbean and its Diasporas. SECTION 1: BIENNIALS & COMMUNITY DEVELOPMENT: SUSTAINABLE PRACTICES & CULTURAL TOURISM 12:101:20 PM Moderator: Mr. James Early, Director of Cultural Heritage Policy, Smithsonian Center for Folklife and Cultural Heritage Panelists: Diana NDiaye, Curator, Smithsonian Center for Folklife and Cultural Heritage; Neil Parsan, Ambassador of the Republic of Trinidad and Tobago to the US; Ivor Miller, Cultural Historian, Senior Fellow, National Museum of African Art at the Smithsonian Institution (2011-2012), mentally conscious practices and to engage commu practice for sustainable programming, cultural herit SECTION 2: THEMATIC INQUIRIES, ART & PROGRAMMING TECHNIQUES 1:303:00PM Moderator: Peter Winant, Associate Director, School of Art, GMU Panelists: Tatiana Flores, Assistant Professor, De partment of Art History, Rutgers University, Inde pendent Curator. Tom Ashcraft, Visual Artist, Associate Professor, Head of Sculpture, School of Art, GMU; tool for ethnographic documentary and as an educa tistic interventions to sustain the individual or col lective psychological and economic well being of its moted through programs and what kinds of pro Welcome, Introductions 11:30-11:45am Opening Speaker: Mr. Jose Ortiz, Executive Director, Artisphere 11:45 am12:00pm Art Every Day: Building Community through Artistic Collaborations Biennials & art practices In the Caribbean Program 2

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SECTION 3: POWER, POLITICS & IDEOLOGIES 3:154:45PM Moderator: M. Liz Andrews, Artist, Curator, Department of Photography & Imaging, Tisch School of the Arts. Panelists: Leah Gordon, Curator, Haiti Ghetto Biennial (UK); Giscard Bouchotte, Independent Curator and Cultural Engineering Consultant; Jo-Marie Burt, Director, Latin American Studies, Co-Director, Center for Global Studies, GMU; Arthur Garcia, Director Rubber Band Puerto Rico. politicized art, propaganda art and aestheticism SECTION 4: TRANS-NATIONAL CARIB BEAN PRACTICE 5:00-6:30 PM Moderator: Lara Stein Pardo, Artist, Fellow, Smith sonian American Art Museum Panelists: Christopher Cozier, Artist, Curator, Wrestling with the Image, Paramaibo Span(Trinidad); Marielle Barrow, Editor-in-Chief, Caribbean InTransit; Marcel Wah, Editor-in-Chief CAW Magazine; Alanna Lockward, Curator, GM Art Labour Archives (Germany) practice for sustainable programming, cultural herit and exhibition can forge stronger links between tions can we suggest toward pro-active trans-na Artist: Fitzroy Hoyte, Trinidad & Tobago Pensive Mood Series:Echoes of My Mind 2009 Copyright 3

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Jose Ortiz prior to joining Artisphere, served as deputy director of the Harvard Art Museum. As its deputy director, Ortiz oversaw the daily operation of Harvards three art museumsthe Arthur M. Sackler Museum, Busch-Reisinger Museum and Fogg Museum. Ortizs extensive background also includes serving istration at the Smithsonian Institutions Hirshhorn Museum and Sculpture Garden from 2005 to 2009. While at the Hirshhorn, Ortiz oversaw the daily operations, scal planning and served as project manager for all capital projects and space planning initiatives aimed at making the museum more acces sible to a wider audience and improving the visitor experience. From 1996 to 2005, Ortiz served as manager for administration at The Cloisters in New York, the branch museum of the Metropolitan Museum of Art dedicated to the art and architecture of medieval Europe. Prior to that, Ortiz supported traveling ex hibitions, programming and marketing for the Smith sonian Institutions Anacostia Museum and served as assistant director of visitor services for the Museum of Television and Radio in New York (now the Paley Center for Media). Ortiz currently serves on the Finance and Resourc es Committee of the International Council of Mu seums in Paris, France. He was also nominated to serve on the Strategic Plan Review Committee and elected to serve two consecutive terms on the board of directors of ICOMs International Committee on Management (INTERCOM) and the American Na tional Committee (ICOM-US), a member board of 19 which serves as the American policymaking and advisory board to ICOM. He is also a current member of both the American Association of Mu seums (AAM) Museum Management Committee and Latino Network Professional Interest Commit tees. Other appointments include serving on the AAM Museums and Community Collaborations Abroad Committee, the Metropolitan Museum of New Yorks Multicultural Audience Development Initiative Committee, and serving as the chair of the American Association of Museums Diversity Coali tion Fellowship Committee. Ortiz is a graduate of Pace University and com pleted a graduate program with a master of arts in liberal studies and received a professional certicate in museum studies from New York University. Ortiz is a regular lecturer and panelist at national and in ternational universities, museums, and conferences, particularly on the subjects of museum administra tion, leadership development, and management during times of change and transition. About Panelists & Moderators M. Liz Andrews is an artist, curator and educator ment histories, convey messages, envision change and incite action. In 2009, she conceptualized and launched LetterToObama: a platform presenting Letters to the 44th President through art. Liz cur rently lives and works in New York City. Tom Ashcraft is a visual artist and founding member of Workingman Collective, a DC based collabora tive artist group,. Tom has exhibited and produced work throughout the United States including the North Carolina Museum of Art, Raleigh, NC, At lanta Center for Contemporary Art, Atlanta, GA, Washington Project for the Arts, Washington, D.C., The Corcoran Gallery of Art, Washington, D. C., Munson-Williams-Proctor Institute, Utica, NY. He is included in public and private collections and is represented by Hemphill Fine Arts, Washington, D.C. Tom has also directed and engaged in multiple cross-disciplinary educational art projects which in clude the Andros Island Art Project, Bahamas, a se ries of collaborative public art projects with George Mason University students, the College of the Ba hamas, and the residents of Stainard Creek, Andros Biographies 4

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Island, Bahamas; and Container Space, the adaptive exhibition space, and experimental resource housed in the School of Art. Marielle Barrow is a Fulbright Scholar recipient and Cultural Studies PhD candidate at George mason university, Virginia. She is a practicing visual artist, so cial entrepreneur, arts management consultant and academic. Marielle Graduated with a BSc in Hospi tality Management (joint degree program) from The University of the West Indies, and the University of Technology in Jamaica and earned a Postgraduate Diploma in Arts & Cultural Enterprise Management and an MPhil in Cultural Studies at The University of the West Indies, St. Augustine, Trinidad.As a social entrepreneur she established Caribbean Arts Village Ltd and The Centre for the Arts, in Port of Spain, As an arts Management consultant she conducted con sultations and worked on an Action Plan for the mu sic and lm industries for the Organization of East ern Caribbean States (OECS) and was one of the presenters at the 2009 CARICOM experts meeting in Haiti, on Cultural Industries, Trade and the Carib bean Single Market and Economy (CSME). Marielle is Founder and Editor-in Chief of Caribbean InTransit. Giscard Bouchotte grew up in Haiti and lives be tween Port-au-Prince, Paris and New York. He has worked as art critic inPort-au-Prince (2001-2004) and is a Member of AICA (International Associa tion of Art Critics) since 2003. Bouchotte graduated with a degree in Political Sciences and Cultural Man agement from Dauphine University in Paris. He has worked as assistant to the Curator of Transcultural Forum for Contemporary Art in Port-au-Prince (Af ricAmricA Foundation) and is currently working as an independant curator for the Agnes b Endowment Fund and Chantiers du Sud. Bouchotte is also a Cul tural Engineering consultant. Jo-Marie Burt teaches political science at George Mason University. Her research focuses on state vi olence, human rights, and transitional justice; social movements and revolutions; and democracy and civil society in Latin America. She is author of Silencing Civil Society: Political Violence and the Authoritar ian State in Peru (Palgrave Macmillan, 2007), which was published in Spanish in early 2009 as Violencia y Autoritarismo en el Per: Bajo la sombra de Sendero y la dictadura de Fujimori by the Instituto de Estu dios Peruanos (IEP) and the Asociacin Servicios Ru rales (SER). She is co-editor of Politics in the Andes: Identity, Conict, Reform (University of Pittsburgh Press, 2004).She brings to her teaching years of ex perience working with human rights organizations in Latin America and the U.S., including Perus National Human Rights Coordinator, Peace and Justice Ser vice (SERPAJ)-Uruguay, and the Washington Oce on Latin America (WOLA). She has received grants and fellowships from the Open Society Institute, Ful bright, U.S. Institute of Peace, the Aspen Institute, the John D. and Catherine T. MacArthur Foundation, the Inter-American Foundation, the Thomas J. Wat son Foundation, and was a fellow of the International Human Rights Internship Program of the Institute for International Education and the Ford Foundation. She holds a Ph.D. in political science from Columbia University. Diana Baird NDiayes is a curator and cultural heritage specialist at the Smithsonian Institutions Center for Folklife and Cultural Heritage. Her re search interests, specialties, and publications span the areas of African and African Diaspora folklife and ethnicity, ethnoaesthetics of dress, craft and design; cultural representation, heritage education, com munity-based tourism and cultural policy. She has curated Smithsonian Folklife Festival programs and exhibitions on Senegal, the communities, childrens play, and performance of Maroon, African immigrant culture, Bermuda, Haiti and most recently on the Af rican roots of Virginias culture. She also coordinated 5

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5 program components on fashion for the Silk Road and Mali Festivals. She directed the Smithsonians participation in the South African National Cultural Heritage Training and Technology Program, in part nership with Michigan State University, the Chicago Historical Society, and several South African cultural institutions. She has served on the Executive Board of the American Folklore Society, on the faculty of Georgetown Universitys African Studies Program, and as an advisor to several cultural and humanities institutions including UNESCO. She holds a Ph.D. in anthropology and visual studies from The Union Institute. Christopher Cozier is a contemporary artist, cura tor, and writer living and working in Trinidad. As a visual artist, he works in a variety of media, includ ing drawing, printmaking, sound, and installation. Through his series of ink-wash sketchbook drawings, Cozier has developed a collection of visual vignettes of contemporary Caribbean moments along with memory-scapes of the Caribbeans colonial past and observations from his travels abroad. Cozier holds a BFA from the Maryland Institute College of Art and an MFA from Rutgers University. His work has been widely exhibited internationally, including at the Havana Bienale, the Bag Factory in Johannes burg, TENT in Rotterdam, CCA7 in Port of Spain, the Museum of the Americas in Washington, DC, the Art Foundry in Barbados, AfricAmericA 2002, the Art Centre of the City of Copenhagen, and A Space in Toronto. He sits on the editorial board of Small Axe, A Caribbean Journal of Criticism, and is an editorial advisor to BOMB magazine. Cozier has curated exhibitions such as Paramaibo Span, Cura cao and Wrestling with the Image, Washington DC James Early is Director of Cultural Heritage Policy at the Smithsonan Center for Folklife and Cultural Heritage. He served formerly as Director of Cul tural Studies and Communication at the Center for Folklife Programs and Cultural Studies at the Smith sonian Institution, Washington, D.C. Since 1984, Mr. Early has served in various positions at the Smithsonian Institution, including Assistant Provost for Educational and Cultural Programs, Assistant Secretary for Education and Public Service, Deputy Assistant Secretary for Public Service, and Execu tive Assistant to the Assistant Secretary for Public Service. Prior to his work with the Smithsonian, Mr. Early was a humanist administrator at the National Endowment for the Humanities, Washington, D.C., a producer, writer, and host of Ten Minutes Left, a weekly radio segment of cultural, educational and political interviews and commentary at WHUR FM radio at Howard University, and a research asso ciate for programs and documentation.As a longtime advocate and supporter of cultural diversity educational institutions, Mr. Early began these pur suits at Morehouse College in Atlanta, GA, in 1969, where he received a Bachelor of Arts in Spanish. In 1971, Early entered the Graduate Studies pro gram at Howard University on a Ford Foundation Fellowship to pursue a Ph.D. in Latin American and Caribbean History and a minor in African and AfroAmerican History.Mr. Early has written extensively on the politics of culture. Tatiana Flores has a joint appointment with the Art History Department and LHCS. She obtained her MA and Ph.D from Columbia University. She specializes in twentieth century Latin American art and contemporary art. Her rst book project ex amines the development of avant-gardism in postrevolutionary Mexico in relation to the Estridentista (Stridentist) movement, which encompassed art and literature. Another study assesses the art, visual culture, and cultural policy under the government of Hugo Chavez in Venezuela. The interests that drive Professor Flores research include art historiogra phy, cross-currents between the art of the Ameri cas and Europe, interdisciplinary collaborations, and the relation between art and social consciousness. Professor Flores has contributed to Review: Litera 6

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ture and Arts of the Americas, ReVista: The Harvard Review of Latin America, and Womans Art Journal and regularly writes for Art Nexus, for which she is editorial advisor. She is active as an independent cu rator, having organized exhibitions on contemporary painting, as well as Latin American and Latino art.The Cisneros Visiting Scholar at the David Rockefeller Center for Latin American Studies in 2007-2008, Ta tiana Flores has also been the recipient of a FulbrightGarca-Robles award and a Jean Charlot Foundation grant. Prior to joining the Rutgers faculty, she taught at Florida State University. Arthur L. Asseo Garca is currently a candidate for a MA on the History of Decorative Arts from Smith sonian-George Mason University, Washington, DC. In 2008, with his business partner Mara de Mater ONeill, he cofounded Rubberband, LLP, a transfor vation in service, production methods and organiza tional structure, within a socially responsible frame of mind. In 2010, as senior partner in Rubberband, LLP, received the BID10 Award of the 2010 Biennale of Latin American Design in Madrid, Spain for the design of the exhibition Hacia un nuevo rumbo (Museo Casa Roig, Universidad de Puerto Rico, 2009). That same year, with ONeill, he presented the paper Ty pography Restoration as a Sign for Understanding Po litical Discourse at the 4th International Conference on Typography and Visual Communication (Univer sity of Nicosia, Cyprus) about the deign process of the Hotel Excelsior typeface. In 2009 he received a BFA (magna cum laude) on Image and Design from the Escuela de Artes Plsticas, Puerto Rico. Leah Gordon is a photographer, lm-maker and cu rator and has produced a body of work on the repre sentational boundaries between art, religion, anthro pology, post-colonialism and folk history. In 2006 she commissioned the Grand Rue Sculptors from Haiti to make Freedom Sculpture, a permanent exhibit for the International Museum of Slavery in Liverpool. Leah created and co-curated the Ghetto Biennale in Port-au-Prince in 2009 and 2011. Gordon was the adjunct curator for the Haitian Pavilion at the 54th Venice Biennale, is on the curatorial team for the In Extremis show Sept 2012 at the Fowler Museum, major show on Haitian art at the Nottingham Con temporary in October 2012. Her photographic work registers Haitis juncture between its history, its cos mology and the present. Her photography book Ka naval: Vodou, Politics and Revolution on the Streets of Haiti was published in June 2010. Gordon is rep resented by Riemaker Gallery, London. Yves-Renee Jennings worked for many years at the World Bank after which she joined ICARs Ph.D. pro gram to explore the conict dynamics of gender re lations in post conict countries. Previously focused on West African countries, she now sees important openings for practitioners in Haiti to rebuild, over coming structural violence, creating dialogues, and develop civic responsibly.YvesRenne is currently di rector of the GMU Dispute Resolution Project, chair of the Latin America working group and as an ICAR Student Association (formerly GSCS) board repre sentative. She is active in the Gender working group and as a Drucie-Cumbie Fellow, she has been devel oping a grants portal for ICAR. Alanna Lockward is an author, critic and independ ent curator specialized in time-based undertakings. In 1988, she was appointed Director of International She is the founding director of Art Labour Archives and has been award jury of the 26 Bienal Nacional de Artes Visuales in Santo Domingo (2011) and V Bienal del Istmo Centroamericano in San Salvador (2006), among other competitions. Her theoretical work has been published widely in English, Spanish and German and she has worked as guest lecturer at the Humboldt University Berlin, Transart Institute, Goldsmisths Uni versity of London, Dutch Art Institute, University of Warwick and the Roosevelt Academy of the Univer sity of Utrecht. She is currently associate curator of 7

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7 the Ballhaus Naunynstrasse and general manager of the Transnational Decolonial Institute. Her most recent curatorial project is BE.BOP 2012. BLACK EUROPE BODY POLITICS. Ivor Miller a cultural historian specializing in the Af rican Diaspora in the Caribbean and the Americas, is a Senior Fellow at the National Museum of Afri can Art at the Smithsonian Institution (2011-2012). He was a Fulbright Scholar teaching in the Depart ment of History at the University of Calabar, Nige ria (2009-2011), and has been a Research Fellow in the African Studies Center, Boston University, since 2006. His most recent book, Voice of the Leop ard: African Secret Societies and Cuba (UP of Mis sissippi 2009) was awarded Honorable Mention by the Association for Africanist Anthropology. Based upon eldwork in Nigeria, Cameroon, Cuba, and the USA, it documents ritual languages and prac tices that survived the Middle Passage and evolved into a unifying charter for transplanted slaves and their successors. Current research interests are the pre-colonial formation of the Ekpe (leopard) soci ety in West Africa, as well as issues of gender in initiation societies in the African Diaspora. His rst book treated the Yoruba Diaspora in the Caribbe an (written with Professor Wande Abimbola); his second book documented the early Hip hop move Mara de Mater ONeill is a Senior partner, Rub berband, LLP and an award winning painter and de signer. ONeil holds a BFA from Cooper Union, New York, and is a candidate for a Doctorate in Design Practice from the School of Design, North umbria University, UK. ONeill has 25 years ofexpe rience in the education sector. Lara Stein Pardos artwork, research, and writing revolve around themes of space and place and the complexities involved in peoples negotiation of the socio-geographic world. Born in Miami, Stein Pardo earned her BA in Ethnic Studies and Studio Art from the University of Colo rado, Boulder, and her MA in Sociocultural Anthro pology from the University of Michigan, Ann Arbor. Currently, she is a PhD Candidate in Anthropology at the University of Michigan and a Fellow at the Smithsonian American Art Museum with aliations at the Center for Folklife and Cultural Heritage and the National Museum of African American History and Culture. Stein Pardos dissertation addresses issues of race, class, gender, and national origin in the politics of contemporary art production, and considers the topic of diaspora aesthetics in rela tion to the conceptualizations of Caribbean-ness. She has presented her research nationally and in ternationally at various conferences including the American Anthropological Association, Caribbean Studies Association, and the Global Caribbeans Conference. Neil Parsan assumed the position of Ambassador Extraordinary and Plenipotentiary to the United States of America and The United Mexican States and Permanent Representative of Trinidad and To bago to the Organization of American States (OAS) on February 7, 2011. Dr. Parsan did his Undergrad uate Medical Degree at the University of the West Indies, Faculty of Medical Sciences After spending of Medical Sciences (UWI), he pursued a Master of Business Administration (MBA). He also holds a Registered Financial Consultant (RFC) Degree, a CACM from Harvard University School of Public Health and a Diploma in International Trade Man agement (Dip. ITM) from ITM Worldwide in Swe den.He was a Director in several Companies lo cally and regionally. He is presently a Director at the Arthur Lok Jack Graduate School of Business (GSB) Alumni Board and Vice President of the Pri vate Hospital Association of Trinidad and Tobago (PHATT). He has consulted on several Special Pro jects locally and internationally. 8

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Marcel Wah is the founder and Executive Director of the Haitian Art Education and Appraisal Society (HAEAS), Inc., a non-prot organization dedicated to establishing and maintaining appraisal standards for Haitian Art. HAEAS also seeks to advance the arts through education, archiving, advocacy, and scholar ship. Born into a well-known family of Haitian-Chinese artists in Port-au-Prince, Haiti, Marcel began to paint at an early age. He holds a Bachelors and Masters De gree in Fine Arts from the San Francisco Art Institute and the California College of the Arts, respectively. The Wah Gallery, his online gallery, promotes Haitian and Caribbean artists. Marcel also hosts the Interna tional Caribbean Art Fair ( ICAFair), Caribbean Art World (CAW) Magazine, an online print magazine focusing on Caribbean Fine Art; Wah Fine Arts; Mol dova 4Ever; and Kylti, Inc. Peter Winant is Associate Director, School of Art and Assistant Professor of Sculpture in the College of Visual and Performing Arts at George Mason Uni versity, where he is the Coordinator for Studio Fun damentals. Peter also heads the Universitys Artsbus program, which annually sends 1,300 students and members of the general public to D.C. and New York City to visit galleries and museums. Peters work is in private collections around the country, and he has made site-specic and gallery exhibitions and instal lations, and lectured in New York, Chicago, Berlin, Prague, Krakow, Slovakia, Austria, Paraguay and of course the D.C. area.Peter earned a Master of Fine Arts degree in sculpture from Indiana University in 1982. He taught at St. Martins Academy and at Montgomery College before taking his current posi tion at George Mason University. Respondents Yasmine Espert is completing her Fulbright year in Barbados as an aliate of the Barbados Arts Coun cil and the University of the West Indies. She is also a volunteer at Fresh Milk, a platform for the arts in Barbados. David Boothman comes from a family of artists and are two of the best known artists from the Caribbe an. David attended Queens Royal College in Trinidad and won a scholarship to Pratt Institute, New York, to study Art. In addition to being a top artist, David is also an accomplished Jazz pianist and composer. He moved to the United States in 1996 where he man ages several bands. Natalie McGuire is a University of Leicester Art History graduate from Barbados. Through her writ ings she explores issues of identity and the Caribbean response to art, amongst other things. Currently she is on the FRESH MILK board, and is a regular contribu tor to ARC magazine. See more of Natalies thoughts Nimah Muwakil-Zakuri is an Art History graduate from the Universidad de Oriente, Cuba. She is cur rently pursuing an MPhil in Cultural Studies at the Uni versity of the West Indies. Nimah is currently the Act ing Curator at the National Museum and Art Gallery. She currently sits on several Government advisory boards and working committees in relation the de velopment of Museums across Trinidad and Tobago. E.g. The Cabinet Appointed Committee for the Es tablishment of a Sugar Museum and the Labour He roes Park and Museum Working Committee. She is also a member of the National Registry Committee for Artists and Cultural Workers. Her professional aliations include the Museums Association of the Caribbean (MAC) and the International Council on Museums (ICOM). Donna Hope holds a B.A. (First Class Honours) in Mass Communication and a Masters in Philosophy (M. Phil.) in Government from the UWI, Mona. Hope was a Jamaican Fulbright Scholar 2002-2004, and complet ed her Ph.D. in Cultural Studies at George Mason Uni versity in Fairfax, Virginia in 2006. 9

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9 Hope continues to engage in ongoing research on culture generally and Jamaican dancehall and music culture as well as on youth development. Marsha Pearce is a Cultural Studies PhD candidate at the University of the West Indies (UWI) St Au gustine Campus, Trinidad and Tobago. She is also the 2006 recipient of the Rex Nettleford Cultural Studies Fellowship granted by the Rhodes Trust. Pearces paintings and writing have been published in a special issue of Callaloo (Volume 30, Number 2, Spring 2007). Pearce is Managing Editor for Carib bean InTransit. Jorge Luis Porrata is poet and an artist who was born in Camagey, Cuba, in 1975. He has illustrated Homago, based in Miami. He currently teaches art courses at George Mason University. His artwork explores the interconnectedness between diverse themes, like text and image, cultural backgrounds, spiritual believes, and crosses disciplines, including writing, printmaking, drawing, and performance art. Leandro Soto and performance artist who has been internationally involved with the arts for the past thirty two years. Soto was one of the leading gures of the inuential Volumen Uno, an artistic movement that changed the course of Cuban Art in the decade of the 1980s, in which he was the rst artist in his generation to work with the Afro-Cuban heritage. Soto has partici pated in more than 162 group exhibitions and 91 solo art shows in museums, art galleries, and alternative art spaces in Spain, Canada, Brazil, Mexico, Czech Re public, Germany, Peru, Japan, Nicaragua, Jamaica, Ita ly, Cuba, India, and the United States. among others. As an educator he has taught and lectured at various Higher Education institutions in the U.S. and abroad. 10

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Caribbean Arts Symposium (2011) in Collaboration with The Art Mu seum of the Americas, George Mason University. Caribbean InTransit Catalogue In the Spirit,(2011) an exhibition of 12 Caribbean artists, in collaboration Festival of the Arts. www.caribbeanintransit.com 11 Download Programs at www.caribbeanintransit.com

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Issues I, II, III, Issue IV Call for Papers 12 CARIBBEAN INTRANSIT BIANNUAL ARTS JOURNAL Download Free e-copies at www.caribbeanintransit.com Subscribe to our newsletter. Isssue 1: The Politics of the Visual and the Vo cal. Guest Editor, Patricia Mohammed. Issue 2: Location and Caribbeanness. Guest Editor, Honor Ford-Smith. Issue 3: Arts for Social Change. Guest Editor, Toby Jenkins ( Fall 2012). ISSUE 4: Cutting Edges: New Media & Crea tive Entrepreneurship, Guest Editors, Keith Nurse & Alanna Lockward. In partnership with Caribbean Industries Ex change and Art Labour Archives. Throughout the Caribbean region and its multiple Diasporas, artistic form and practice are at risk. Since the beginning of a global economic crisis in 2008, the arts have been particularly impacted through severe losses of funding and institutional support. These ongoing global challenges to the practice and cic ways. Mobilizing the crisis as a critical point of departure, this volume of Caribbean Intransit seeks to examine both the inherent risks and possibilities of the intersection of new technologies, entrepre neurship and artistic practice. How might we deploy the cutting edges of artistry, technological innova

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tion and business practices to nd creative solutions electronic and digital networks, mobilities and artistic projects threatened or empowered the arts in times How can experiments in new media, performance, lm, literature, music, art, and architecture articulate nancially sustainable aesthetic interventions in the This volume of Caribbean InTransit invites explora tion of these cutting edges and their myriad interpretations as both pitfall and promise. Essays and creative works may explore but are not limited tothe following possible topics: representations Nationality, transnationality and global citizenship munity struggles Locality and locatedness egy Case studies of cultural work, methods and icono graphies Intraor cross-Caribbean spaces, engagements and discussions ern strategies of re-existence We welcome 4000-5000 word essays in English, Spanish or French. Artwork, music, dance, poetry, mas or junkanoo designs or any other artistic expres sion with blurbs in English, French, Spanish, Dutch, dialect or creole are welcome as well as lms in any language with subtitles in English. Fiction or nonc tion writings in English or dialects will be accepted. Writings in dialectshould be accompanied by a trans lation of terms. Research papers on visual or vocal modes of expression as well as interviews ofcontem porary artists in English are also welcome. ALL Submissions should be accompanied by the fol lowing in one document in this order: *Name Professional aliation 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 for via Word limits for various submissions are as follows:Academic papers: 7500 words Reviews: 3000 words words 13

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Glocal Archipelago: Art, Location and the Caribbean. Editors, Marielle Barrow & Marsha Pearce. Publisher: Caribbean Studies Press This book recognizes Caribbean as being inter preted in terms of a locality while at once being dened by much more. The book builds on this insight. It is concerned with the relationship of the arts broadly dened with the denite article that often comes before the word Caribbean, in other words it explores the arts in relation to the Carib bean. This compilation addresses through a selec tion of insightful chapters, the capacity of the arts to destabilize that denite article so that the Caribbe an is understood as an archipelago dened by the Caribbean Sea, that is, as a demarcated, localized place and simultaneously as an unxed, global space. This is Me, An Arts for Social Change Project in collaboration with Floating Lab Collective and Provisions Library This Is Me is an arts workshop catering to highschool aged students. The workshop seeks to provide youth with a platform to express them selves, their concerns and their realities through art. It also begins to address the issues of invisibility and marginalization of youth. The workshop was con ducted as part of the launch of Issue 2 of Caribbean InTransit inTrinidad and is the rst of many events aimed at promoting easy access to the arts using various tools ranging from New Digital Technologies to the creation of spaces for academics, arts and culture professionals, acionados and young persons to express themselves and share their experiences freely.The workshops main aim is to encourage and establish inter and intra-generational dialogue in the hopes of promoting understanding and empathy which will eventually lead to a series of positive actions, conceptualized and executed by young people while contributing to a process of interaction between grass roots communities, artists, academ ics and policy makers. This is Me was conducted in collaboration with the Floating Lab Collective and Provisions Library. 14 Glocal Archipelago: Art, Location & the Caribbean & This is Me

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15 Editorial Marsha PearceUniversity of the West Indies, Managing Editor ( Trinidad based) Katherine MirandaUniversity of Puerto Rico, Hispanophone Specialist ( Puerto Rico based) based) Donna HopeUniversity of the West Indies, Anglophone Specialist ( Jamaica based) Ruby EckmeyerUniversity of Aruba, Dutch Caribbean Contact ( Aruba based) Leanne HaynesUniversity of Essex, Project Editor (UK based) Njelle HamiltonBrandeis University, Submissions Manager ( Massachusetts based) Meagan SylvesterUniversity of the West Indies, Manager, Blind Peer Reviews (Trini dad based) Annalee Davis Independent Visual Artist, Cover Curator ( Barbados based) Copy Editors Neila EbanksEdna Manley College of the Visual and Performing Arts (Jamaica based) Stacey CumberbatchGeorge Mason University ( Virginia based) Sara-Marie MasseeGeorge Mason University (Virginia based) Marketing & Technical Team Clayton RhuleGraphic Designer (Trinidad based) Janissa KhalMarketing Manager (Florida based) Kerri SmithWeb technician (Trinidad based) Kamilah Morain Workshop Coordinator ( Haiti based) Ayana RiviereLaunch Coordinator (Trinidad based) Daniella CarringtonSocial Media Coordinator (Trinidad based) Keisha OliverVisual Communications Specialist (Trinidad based) Advisors: James EarlySmithsonian Center for Folk Life and Cultural Heritage ( Washington DC based) Mikail PetinGeorge Mason University (Virginia based) Tirzo MarthaArtist, Instituto Buena Bista ( Aruba based) Sponsors and Aliations: College of Humanities and Social Sciences, George Mason University African and African-American Studies, George Mason University Caribbean InTransit Team Members 15

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15 Notes Notes

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Special anks to James Early Christopher Cozier Diana Baird NDiaye Sojin Kim Keisha Martin Bill Palmer Pam Rogers Center for Global Studies, George Mason University Latin American Studies, George Mason University