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As studies of African and Afro-Caribbean performance have acquired a wider relevance during the last decade, it is now time to examine the diverse critical approaches currently being practiced within these fields. How are African and Afro-Caribbean cultures being constructed, analyzed, and re-imagined by recent discussions about theatricality, transnationalism, diaspora, translation, Circum-Atlantic exchanges, or cyberspaces? The conference's program will bring together a diverse array of presenters from Africa, the Caribbean, Europe, and the United States who deal with topics that include--among others--dance, drama, community theater, the links between social justice and performance, rituals, religious events, diasporas, carnival, and intercultural barterings.

African Arts is devoted to the study and discussion of traditional, contemporary, and popular African arts and expressive cultures. Since 1967, African Arts readers have enjoyed high-quality visual depictions, cutting-edge explorations of theory and practice, and critical dialogue. Each issue features a core of peer-reviewed scholarly articles concerning the world's second largest continent and its diasporas, and provides a host of resources - book and museum exhibition reviews, exhibition previews, features on collections, artist portfolios, dialogue and editorial columns. The journal promotes investigation of the connections between the arts and anthropology, history, language, literature, politics, religion, and sociology.

ACASA, the Arts Council of the African Studies Association, promotes greater understanding of African material and expressive culture in all its many forms, and encourages contact and collaboration with African and Diaspora artists and scholars.

In 1982 the International Dance Committee of the International Theatre Institute, UNESCO, created International Dance Day to be celebrated every year on the 29th April. The date commemorates the birthday of Jean-Georges Noverre (1727 - 1810), the creator of modern ballet. Every year a message from a well-known dance personality is circulated throughout the world. The intention of International Dance Day and the Message is to bring all Dance together on this occasion, to celebrate this art form and revel in its universality, to cross all political, cultural and ethnic barriers and bring people together in peace and friendship with a common language - DANCE.

ADAD is a (UK) national organisation that supports the practice and appreciation of dance of the African Diaspora. We want dance of the African Diaspora to be visible and valued as part of the British cultural experience.

ISPA is a not-for-profit international organization (founded 1949) of over 600 executives and directors of concert and performance halls, festivals, performing companies, and artist competitions; government cultural officials; artists' managers; and other interested parties with a professional involvement in the performing arts from more than 50 countries in every region of the world, and in every arts discipline.\n\nThe purpose of ISPA is to develop, nurture, energize and educate an international network of arts leaders and professionals who are dedicated to advancing the field of the performing arts.

Since 1969, VLA has been the leading provider of pro bono legal services, mediation, educational programs and publications, and advocacy to the arts community in New York and beyond. Through public advocacy, VLA frequently acts on issues vitally important to the arts community-freedom of expression and the protections to artists under the First Amendment being an area of special expertise and concern. The first arts-related legal aid organization, VLA is the model for similar organizations around the world. VLA is a nonprofit legal service organization supported in part with public funds from the National Endowment for the Arts, the New York State Council on the Arts, a State Agency, and the New York City Department of Cultural Affairs and through generous gifts from law firms, corporations, foundations and individuals.

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