The Errol Barrow Centre for Creative Imagination will be hosting their first ever CAPE & CSEC Conference in the Performing Arts and their Second International Dance Conference in April and May 2016, during their End of Year Season.
The CSEC/CAPE conference, is being Chaired by Lecturer in Theatre at the EBCCI Yvonne Weekes, who is also the Head Examiner of CSEC Theatre and an award winning writer and thespian, and it comes on the heels of the introduction of the CAPE Performing Arts Syllabus by the regional examination body, the Caribbean Examinations Council.
The EBCCI, one of the leading Creative Arts Centres in the region, offers the interdisciplinary Bachelor of Fine Art in Creative Arts in Theatre, Film & Dance and the Master of Arts Creative Arts in Arts Entrepreneur, supports all pre-tertiary teaching and learning in the arts and through this Conference and hopes to bring together teachers, arts educators, administrators, scholars, researchers and policy makers to examine and further support the creative offerings of the Caribbean Examinations Council, specifically, the CAPE Performing Arts, CSEC Theatre Arts, and CSEC Music.
This inaugural conference will provide a platform for the exploration of a range of issues related to artistic practice, scholarship, pedagogy and research in the Caribbean, as well as, build synergies and forge dialogue on how Caribbean artists and arts educators can explore questions of cultural identity in a globalizing world and create wealth from Caribbean art. With plenaries by Dr. L'Antoinette Stines and Dr. Nicholeen De Grasse Johnson, this regional conference will support the regional development of their respective Creative Sector.
Slated to be held during the Easter holidays of 2016, the conference will be held April 4 to 6, 2016 at the picturesque Errol Barrow Centre for Creative Imagination at the University of the West Indies Cave Hill Campus, Barbados.
CALL FOR PAPERS CSEC/CAPE CONFERENCE
As the End of Year celebrations start with the Capstone Thesis Productions of the graduating class, the Second International Dance Conference promises to close the academic year with dialogues, workshops and the second Season of Dance at the EBCCI from May 19 to 21, 2016.
Chaired by Cuban American Award winning Choreorgrapher and Dance Lecturer Neri Torres, Dancers and dance academics are invited to answer the call under the theme:
“Caribbean Fusion Dance Works: Rituals of A Modern Society”
In 1940, Cuban scholar Fernando Ortiz coined the term “transculturation” to describe the process by which distinct cultures fuse to give birth to new cultural expressions. Scholars have since widely recognized the vital role syncretism has played in the Caribbean, due in no small part to its geographic and historical location at the center of travel and slave trade between Europe, Africa and the Americas. In 1996, Cuban writer Antonío Benítez-Rojo suggested that the defining characteristic of Caribbean culture is supersyncretism, a propensity for recombining elements from disparate cultural traditions in a continual pattern of interruption and repetition.
As Caribbean dances and dancers have migrated from the Caribbean Basin, they have continued these patterns of transculturation, syncretism, and hybridization in new fusions of Caribbean dance with practices as varied as ballet, modern, jazz, hip-hop, bhangra, and belly dance. Within the Caribbean, dance artists and social dance practitioners are integrating techniques and vocabulary from other Caribbean islands, Europe, Asia, Africa, and the Americas, facilitated by increased ease of travel, both physical and virtual. Conference participants are invited to examine the theme of fusion in Caribbean dance from a wide range of perspectives, including its socio-historical function. Caribbean dance will be conceptualized broadly to include the greater Caribbean created through migration, globalization, and virtual travel.
Fernando Ortiz, Cuban Counterpoint: Tobacco and Sugar. New York: A. A. Knopf, 1947 .
Antonio Benítez-Rojo, The Repeating Island: The Caribbean and the Postmodern Perspective, Second Edition, trans. James E. Maraniss (Durham, NC: Duke University Press, 1996), 11–12.
CALL FOR PAPERS DANCE CONFERENCE
The African Theatre Conference, hosted by the African Theatre Association, serves as a bridge between African theatre practices and scholarship in Africa and the African Diaspora, by bringing academics and theatre-makers together. The EBCCI is pleased to have been selected as the next diaspora host for 2017 as it continues to promote the making, study and appreciation of the creative arts in Barbados and the Caribbean region. The Conference dates are July 6 to 9, 2017. The deadline for the submission of abstracts is January 15, 2017.
Theatre and performance on the African continent itself, as well as in the diaspora, have historically been influenced to quite a considerable degree by the Story Teller, the Griot, the Poet, who traditionally has been the keeper of the tales, the maker of the myths, the voice of the culture.
This influence is readily seen in the both the traditional and the modern, in both the urban and the rural, in both the structure and the content, in both the ritual and the autonomous. The 2017 AFTA Annual International Conference, “Many People, Many Cultures, One Humanity: Re-Centering the Poet, Poetry and Performance” invites participants to consider the theatre and performance in our contemporary world, its place in our lives, and the centrality of performance in its various manifestations to our lived experience/reality.
Our theme is concerned with that which informs theatre and performance in Africa, in the Caribbean and in their respective diasporas. It is anticipated that among the themes/issues that papers will address will be those of – threads, movements, theory and criticism, media, practice, dramaturgy, music, dance, poetry, film, new media, design, ritual, meta-narrative, ancestral voices, legacy, identity, language, nationalism, post colonialism, indigenous, traditional and other models of theatre and performance.
Papers are welcome from within specific disciplines, e.g., History, Literature, Cultural Studies, Visual Arts, Film, Dance and Theatre, etc., as well as from across disciplines, and collaborations are especially welcomed.
Participants wishing to present are invited to submit their abstracts (maximum 250 words): email@example.com
Download the Full Call
The abstract submission deadline is 15 January 2017.
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