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.
CSEC and CAPE Theatre & Performing Arts Conference 2016
“PEDAGOGY AND RESEARCH – TEACHING CSEC AND CAPE PERFORMING ARTS.”
The EBCCI is very excited at the prospect of welcoming you to the inaugural CSEC and CAPE Performance Arts Colloquium “Pedagogy and Research”, April 4 to 6, 2016.
Hosted in partnership with the Caribbean Examination Council, the CSEC/CAPE Colloquium 2016 will engage delegates from the Caribbean. Providing the wonderful opportunity to network and make long lasting associations with people from the region who share in the same passion, this conference aims to support the continuing to improve the quality of teaching and learning for in the arts, to develop the creative and cultural sectors.
The Conference is designed to allow delegates attend performances, art exhibitions, workshops, plenaries, panels, as well as tour Bridgetown and its Historical Garrison, inscribed in 2011 as a UNESCO World Heritage Site. Attached for your attention is the call for papers.
Looking forward to seeing you in 2016!
Love and Light,
Yvonne M S Weekes
2nd INTERNATIONAL DANCE CONFERENCE & SEASON OF DANCE
MAY 19 to 21, 2016
he Errol Barrow Centre for Creative Imagination (EBCCI) at the University of the West Indies, Cave Hill Campus, Barbados, invites the international community of dancers, choreographers and scholars to the Second International Dance Conference & Season of Dance” in beautiful Barbados, May 19 to 21, 2016.
The EBCCI welcomes dance professionals from around the world to contribute on the dynamic discussion and cultural encounter on the topic:
“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.
THE CALL FOR PAPERS