Leanne Haynes interviews Holly Bynoe and Nadia Huggins
Bynoe and Huggins, founders of ARC magazine were commissioned by the United Nations Development Programme to work on Youth-IN-Visions. Bahamian, Sonia Farmer was interviewed for the project.
Annalee Davis curates a collection of works by seven Caribbean artists
Ebony Patterson’s performance art work in Trinidad is a commentary on spiraling death rates, commemorating lives lost in the form of a ‘bling funeral’
Marsha Pearce writes on Isaac Blackman
Guest Editor for Issue 3, Toby Jenkins says that Marsha Pearce’s essay, “Art is a Doing Word: Jamoo Music as World Changer” focuses on ”art as a venue for social action.”
Issue 3 features Jamaican dancer Safi Harriott
Harriott’s dance review “Fearless Softness: A Possibility for Dancing, Witnessing, and Being with Others,” ”explores the connection between body, mind, and social existence” according to Guest Editor, Toby Jenkins
Soil and Blood: Arts for Social Change. Launch of Issue 3
The launch of Caribbean InTransit Issue 3:”Soil and Blood: Arts for Social Change” featured a panel with Smithsonian Center for Folklife staff Sojin Kim and Arlene Reineger; George Mason faculty Benedict Carton and Peter Winant.
Caribbean InTransit Issue 3 Arts for Social Change
Caribbean InTransit presents its third issue on Arts for Social Change. Guest Editor, Toby Jenkins has selected essays, poetry, visual essays, creative non-fiction, interviews and reviews for the issue. Cover image by Laura Anderson Barbata
African and African American Studies, GMU
Caribbean InTransit is now housed within African and African American Studies at George Mason University
Biennials & Art Practices in the Caribbean
Symposium on June 28th 2012, 11:30am – 7:00pm. Smithsonian Center for Folklife & Cultural Heritage, Washington DC Join us via Video Conference: RSVP & registration required: email caribintransit@gmail.com. Join us with questions via Facebook & Twitter
Volume 1. Issue 2. March 2012
Port-au-Prince’s second Ghetto Biennale in 2011 hosts a neighbourhood screening of ‘Planet Earth’, translated into Kreyol by Arcade Fire. Photo by Jason Metcalf
Alex Louis films from the roof of the Ghetto Biennale Tap Tap in Port-au-Prince
“How about completely abolishing the model of the biennial, so as to reopen the possibility of perceiving and bringing into focus the small, the overlooked, the locally produced, and the unclassifiable?” (Wullfen 106) . David Frohanpfel interrogates the Haiti Ghetto Biennial.
The Caribbean Arts Journal is a free resource
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