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Identités Caribéennes : le jeu de miroirs. Construction/déconstruction identitaire dans les oeuvres de Tirzo Martha et Habdaphai (Caribbean Identities: the game of mirrors. Identity construction / deconstruction in the works of Tirzo Martha and Habdaphai)

Editors CRILLASH : Center for Interdisciplinary Research in Letters, Languages, Arts and Human Sciences

Extract from: "Poetics and politics of otherness: colonialism, slavery, exoticism in literature and the arts (17th-21st centuries)": international interdisciplinary colloquium, 12 March 2015. University of the Antilles and Guyana

Description : This communication aims to address the issue of identity construction in the Caribbean by considering the works of two Caribbean performers: Tirzo Martha (Curaçao) and Habdaphai (Martinique). We will see how these two artists question a supposed Caribbean identity which would be shared on a fragmented territory formed of islands speaking various languages.
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Art et folie : le cas Bispo (art and madness : Bispo do Rosario, a case study)

Editors: CEREAP: Center for Studies and Research in Aesthetics and Plastic Arts IUFM: University Institute for Masters Training in Martinique

Extract from: "Perspectives on: Art and madness": Conference, April 23, 2013. University of the Antilles and Guyana
Description: Sophie Ravion D'Ingianni first presents in a few words the relationship between art and madness, through the portrait of the painter Van Gogh. She then looks at the work of Fernando Nannetti, Carlo Zinelli, Aloïse Corbaz and Judith Scott; in order to address the issue of art therapy, in places of internment. Mathilde Dos Santos, articulates her presentation around the Brazilian Arthur Bispo do Rosario, whose known work was produced during his internment in a psychiatric hospital. Dominique Berthet articulates his presentation around the following problematic: What relationship can art have with madness.


Tout ce qui est noir n'est pas nègre : quand la performance interroge les notions de race/de couleur

Editor (s): LC2S: Caribbean Laboratory of Social Sciences

Extract from: "Gender / racial discrimination in dance, dance / theater, performance in Martinique", Study days, May 30-31, 2017. University of the Antilles

Description: Matilde Dos Santos, doctoral student in the CRILLASH laboratory, articulates her presentation around the boundaries between dance and performance. Through her words, she connects three different dance moments with artists such as, Simone Forti, Robert Morris and Anna Halprin, Martinican performer Habdaphaï, among others.

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Moving memories: identity construction and deconstruction in performance practice in the Caribbean

Editor (s): CRILLASH: Center for Interdisciplinary Research in Letters, Languages, Arts and Human Sciences

Extract from: "Doctoral Conference", conference, April 7, 2017. University of the Antilles Description: Matilde Dos Santos Ferreira PhD student, CRILLASH laboratory.

Matilde Dos Santos Ferreira presents her research as part of her thesis entitled “Moving memories: construction and deconstruction of identity in performance practice in the Caribbean”. Coming from a background as a historian, she is particularly interested in storytelling and the question of memory. According to her, contemporary Caribbean art is based on memory and raises the question of the artist's participation in a common construction of this memory.

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"Black female artists from Brazil and the Caribbean: challenging invisibility"

Symposium Politics and Poetics of Afro-Latin Visibility, University of Edinburgh, Scotland, 2-3 November 2017 

International Association of Art Critics – southern Caribbean section, Tropiques Atrium , Fort-de-France, 18 January 2018

International conference of Francophone feminist research (CIRFF), University of Nanterre, Nanterre-France,29 August 2018


Brazil is after Nigeria the country where the black population is the largest in the world; in 2015 up to 54% of the inhabitants of Brazil (IBGE, 2015) declare to be black or colored. The country is often presented as a mixed country, and a full one-third of marriages in Brazil are interracial (Ribeiro and Silva 2009), which is the highest rate in the world. But a range of colors cannot disguise a fundamental truth: there is a hierarchy, and white is at the top. Absent of the media, and of the managing positions, black people were also absent of the public policies until the government Lula and Dilma. Still, there is a more subtle invisibility, which is linked to the Brazilian myth of miscegenation. In 2001, the catalog of the exhibition Never to forget: black memories, memories of black people, (Emmanuel Araujo, 2001), showed photographs of important black people in  Brazil and along with the entertainers and sportive we all know there were politicians, doctors, writers, most of them not seen as black generally. Before Lula, four of our formers presidents where afro descendants but none of them were identified or identified himself as black or colored. This is the other side of invisibility. This is ostentatious invisibility.  Not really surprisingly a very close situation, meaning the social and artistic invisibility of the larger part of the population, is found at the Caribbean islands. This presentation will show the uncomfortable images produced by black female artists from Brazil and the Caribbean dealing with invisibility and subpoena.  These works, mainly performance-art works, revolve around the interaction with the social, where the so-called feminine knowledge become a lever of visibility, the condition of black women, and the role of memory, in connection with the history of slavery,  or the affirmation of Caribbean women by the staging of the body but also the intimacy and sexuality and the domestic universe, female and subordinate par excellence, and the imposition of a white beauty standard.

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