2014, Call for Papers: Issue 7

Caribbean InTransit is about to embark on its second volume of open access publications, with Volume 1 now available in print as a compilation of the first four issues. Volume 1 includes Issue 1: “The Politics of the Visual and the Vocal”, Guest Edited by Dr. Patricia Mohammed;  Issue 2:”Location and Caribbeanness”, Guest Edited by  Dr. Honor Ford-Smith;  Issue 3:”Arts for Social Change”, Guest Edited by Dr. Toby  Jenkins; and  Issue 4: “Cutting Edges: New Media and Creative Entrepreneurship”, Guest Edited by Dr. Keith Nurse and Alanna Lockward. We encourage departments and libraries to purchase copies.

In commencing Volume 2, Caribbean InTransit renews its call for papers and works, under the theme “Antithesis/Synthesis: Fine Arts & Cultural Heritage”. We believe that this is a critical theme which warrants much time and effort and so it has been afforded such by re-configuring the ordering of our issues. Volume 2 issues are underway:  Vol 2 Issue 5: “The Book of Promises” featuring the 3rd Haiti Ghetto Biennale, Guest Edited by Sterlin Ulysse; Vol 2. Issue 6: “Body, Institution, Memory” featuring works from the symposium held in conjunction with the Postgraduate program of Cultural Studies, University of the West Indies, St. Augustine, Guest Edited by Dr. Gabrielle  Hezekiah and Christopher Cozier; and Vol. 2 Issue 7: “Antithesis/Synthesis: Fine Arts & Cultural Heritage” Guest Editors,  Dr. Mimi Sheller and Dominique Brebion.

Caribbean InTransit launches into 2014  with several opportunities on the horizon and new mechanisms in place. In 2013, Caribbean InTransit focused on developing its experimental platform through: i) the introduction of its inaugural arts festival, “Caribbean InTransit: The Meeting Place”, ii)  the introduction of research and social practice branch where collaborating scholars and artists participated in the 3rd Haiti Ghetto Biennale in November-December 2013. Concomittantly, we took the opportunity to further streamline our project by registering formally as non-profits in Virginia and Trinidad & Tobago and by installing our Editorial Board.  We welcome you to join us by becoming a member, a partner or a contributor to our publications.



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.


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 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/


Caribbean Intransit Issue 5 Antithesis/Synthesis: Fine Art and Cultural Heritage DEADLINE: APRIL 15TH 2014

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 concerns 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
Reclamation, Re-adoption and/or Repatriation
Private and Public Goods
Archaeological Heritage
National, Regional and International Agencies (including UNESCO, CERLAC) Diasporic Heritage
Art History/Conservationist approaches to 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:

* 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.


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



Please see our Submissions Guidelines on our website for more information


Mimi Sheller is  Professor  of Sociology and founding Director of the Center for Mobilities Research and Policy at Drexel University. She is founding co-editor of the journal Mobilities; Associate Editor of the journal Transfers: Interdisciplinary Journal of Mobility Studies; and serves on the Scientific Board of the Mobile Lives Forum, SNCF, France. She also serves on the editorial boards of Cultural Sociology and the International Journal of African and Black Di aspora Studies. She has held recent Visiting Fellowships at the Davis Center for Historical Studies at Princeton University (2008-09); Media@McGil in Montreal, Canada (2009); the Center for Mobiility and Urban Studies at Aalbory University, Denmark (2009); and the Penn Humanities Forum (on Virtuality) at the University of Pennsylvania (2010-2011)

She is the author of several books and numerous articles in the field of Caribbean Studies, including Democracy After Slavery (Macmillan, 2000); Consuming the Caribbean (Routledge, 2003); and Citizenship from Below (Duke University Press, 2012).

Dominique Brebion is graduated in Journalism from the Ecole Supérieure de Journalisme of Paris and holds aDEA (postgraduate certificate) in Modern Humanities, with her dissertation Les Armes Miraculeuses d’Aimé Césaire et Les Armes Enchantées de Wifredo Lam or the Dialogue du Scriptural et du Figural.

This dissertation seeks to analyze the correspondence between Aimé Césaire’s poetical discourse and Wifredo Lam’s artistic discourse within the wirttings of Césaire illustrated by Lam. She has been curator, member of jurys for inter-Caribbean biennials, or even in


charge of selecting artists from Martinique for international biennials, but not only, since Dominique Brebion has also published several articles of reference.

Arts advisor to the Regional Cultural Affairs Board of Martinique (French Ministry of Culture) since 1987, Dominique Brebion has always been involved in the Caribbean artistic scene.
She founded the magazine Artheme in 1999, and is amongst the founding members of the Caribbean southern section of the International Association of Art Critics (the AICA – SC, founded in 1998) – for which she became president in 2007.She is also coordinator of several artists’ residencies in Martinique: Georges Rousse, François Bouillon, Alan Sonfist, Nils Udo, Jean Clareboudt.

Dominique Brebion was member of the jury for the Caribbean and Central American Biennials of Painting and Drawing in Dominican Republic in 1992, 1994 and 1996. She was responsible for selecting French Caribbean artists for the1st Caribbean Triennial organized by Dominican Republic In 2010.

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