Donna Karan’s love Haiti relationship

Repeating Islands

Jane Gordon has written this profile of Donna Karan and her relationship to Haiti for London’s Daily Mail.

Donna Karan is reclining on a pure white ottoman in the shade of a banyan tree at her aptly named villa the Sanctuary on the private tropical island of Parrot Cay in the West Indies. She is, as you might expect, wearing something she designed herself (a copper-coloured draped skirt and tunic top) and she manages to look (without any make-up or obvious signs of surgery) a decade younger than her 63 years – a feat she puts down to ‘standing on my head doing yoga’.

The woman who, together with her late husband Stephan Weiss, created a vast fashion empire worth a reputed £415 million (it was sold to the luxury conglomerate LVMH in 2001) is supposed to be on vacation, but even here she is a whirlwind of creativity…

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Jamaica Kincaid short story inspires dance performance

Repeating Islands

Lauren Gallagher reviews Liss Fain’s new dance Jamaica Kincaid-inspired performance/installation for The San Francisco Examiner.

Liss Fain Dance just might be the most bookish dance troupe ever.
Novels, poetry and short stories have influenced Fain’s work for years.
Last year, she used literary superstar Lydia Davis’ short stories. She continues on the short story trajectory, using Jamaica Kincaid’s unnerving tales in “The Water Is Clear and Still,” a performance installation debuting Thursday at Z Space.
“A wave of nostalgia rushed over me when I heard Kincaid’s name in association with this piece,” says Val Sinckler, who first read Kincaid in elementary school and will read stories from Kincaid’s “At the Bottom of The River” as part of the installation. “She’s also considered a Caribbean author, and there is a wealthy reservoir of Caribbean culture in my family, so there is a personal resonance for me.”
Sinckler, a San Francisco…

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Edge Zones Hosts 1st Miami Performance Art Festival

Repeating Islands

Edge Zones presents the 1st Miami Performance Art Festival, taking place July 26-29, 2012. The festival will be a four day series of events through downtown Miami, the Miami Design District, and in the Botanical Gardens of the City of Miami. It will be curated by Charo Oquet, Cristy Alamaida, and Tori Arpad-Cotta and organized by Edge Zones Projects. The festival, which is free to the general public, will include workshops, lectures, artist talks, or other forms of interactive discourse. The first edition’s focus of inquiry is the “Art of Uncertainty.” 

Description: The first Miami Performance Art International Festival features several projects. The Live Art exhibition project seeks to reflect the varied approaches and underscore the wide spectrum of concerns of artistic practices and styles while surveying the contemporary global artistic strategies and conceptual frameworks where these works are put into play. M/P’12 will explore and study the tendencies…

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Call for Submissions: Sargasso Issue—”Agency and Intervention in Caribbean Contexts”

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SARGASSO, a peer-reviewed journal of Caribbean literature, language, and culture, published at the University of Puerto Rico-Río Piedras, seeks submissions for the upcoming issue: “Agency and Intervention in Caribbean Contexts.” The deadline for submissions is September 15, 2012.

Description: The Sargasso team is looking for scholarship that addresses the varied ways that agency and/or intervention has been engaged, configured, and/or problematized within Caribbean societies, traditions, and cultures. Of special interest is scholarship that dialogues with ideas in the fields of literature, linguistics, performance/drama, ethnomusicology, anthropology, social sciences, and postcolonial studies; they strongly encourage work that is interdisciplinary in nature.

This issue of Sargasso will feature contributions that either rethink or creatively explore the issues of agency and/or intervention in Caribbean contexts. Current postcolonial theorists and scholars frequently foreground the interventionist possibilities of their work on contemporary inequities and material needs by demonstrating how subaltern or subjugated communities attain and…

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(Last Call) for Papers: Caribbean Irish Connections

Repeating Islands

Organizers Alison Donnell (University of Reading, UK), Maria McGarrity (LIU Brooklyn, USA), and Evelyn O’Callaghan (University of the West Indies, Barbados) remind us that the call for papers for Caribbean Irish Connections is almost over; the deadline is June 29, 2012. Caribbean Irish Connections, a multidisciplinary conference and workshop, will be held in Barbados on November 16-17, 2012, at the Beach View Hotel in Paynes Bay, St. James, Barbados [also see Call for Papers: Caribbean Irish Connections.]

Although there has been more recent scholarship on the connections between Ireland and the Caribbean, such as The Black and Green Atlantic: Cross-Currents of the African and Irish Diasporas, edited by O’Neill and Lloyd, there remains still too little conversation between scholars based in Caribbean Studies and Irish Studies. This conference aims to open up these conversations as they pertain to history, politics, language, geography, expressive cultural forms, and everyday practices…

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Tunisian Art Riots and the Play of the Serious

Africa is a Country (Old Site)

The long running art show, Printemps des Arts, held in La Marsa, a wealthier suburb of Tunisia, was the site of riots and attacks against art that incited the religious rancor among Salafi fundamentalists. On June 10, the last day of the exhibition, fundamentalists were incited to wreak havoc on the art when a government official (referred to as a bailiff) visited the exhibition, took photos and brought them back to show to a mosque populated by Salafist zealots. Calls for attacks against artists, and photos of the offending images on exhibition were circulated through the use of social media. In this case Facebook was the launch pad for a compilation video of images and text, as well as for a recorded statement from Cheikh Houcine Laabidi, an imam at the Zitouna mosque, denouncing the artists involved. Groups of agitators went back later that night, and the next…

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Miami Art Museum’s Jose Bedia retrospective surveys 30 years of a city icon

Repeating Islands

José Bedia’s stark images are part of the Miami cityscape, but it’s been three decades since a local museum showed his work. Here is John Coppola’s review of the show—curated by Judith Bettelheim—for The Miami Herald.

Cuban artist José Bedia’s stark silhouettes and totemic figures are Miami icons — at the Arsht Center, on Design District murals, in Key Biscayne traffic circles. Among the few places where his Afro-Cuban-inspired images have not been regularly seen are in the city’s public museums.

That gap has now been filled with the opening of Transcultural Pilgrim: Three Decades of Work by José Bedia at the Miami Art Museum. The exhibition was organized by Los Angeles’s Fowler Museum of Cultural History and will be on display throughout the summer. Although Bedia’s work is represented in Miami public and private collections, his last solo museum exhibitions locally were back in the 1990s. MAM’s predecessor…

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