In the Dominican Republic, Editorial Santuario and the Museum of Modern Art (MAM) announce the launch of Alanna Lockward’s anthology Un Haití dominicano: Tatuajes fantasmas y narrativas bilaterales (1994-2014) [A Dominican Haiti: Ghost Tattoos and Bilateral Narratives (1994-2014)]. The compilation, which features cover art and illustrations by renowned artist Raúl Recio, will be presented on Thursday, September 25, at 7:00pm in the main auditorium of the MAM, located at Plaza de la Cultura in Santo Domingo. The book will be presented by Soraya Aracena and Rubén Silié.
The leading session at the presentation will consist of anthropologist Soraya Aracena and artists Teresa María Díaz Nerio and Raúl Recio.
Argentine semiotician Walter Mignolo (Duke University) writes:
“[. . .] First, I read the manuscript Marassá y la nada, and soon after, the version in print. Marassá y la nada is a beginning work by an already well-formed writer. [. . .] Concise writing, precise and understated, yet complex. As I read it, I heard the murmurs of an existentialism that is Caribbean and, at the same time, female. Then, another surprise by Alanna fell into my hands: her journalistic essays written mainly between 1994 and 1998 (written on the island), and retrospectively extended to 2014 (written in Berlin) [Un Haití dominicano]. The texts offer a window to the island in the late twentieth century. Racism and genderism are rampant through these pages. But not only that, political and economic issues, as well as immigration policies affecting sex workers and manual laborers. The texts also draw a map that transcends the island and traces its connections to Miami and Mexico. [. . .] Decoloniality is liberating and revolutionary insofar as it gives us the option to let go of hierarchies that are not ontological but modern/colonial fictions. To rid ourselves of these illusions is a daily task at all levels. Un Haití dominicano contributes to this task to the extent that it invites us to ‘feel,’ in one way or another, the relationships between the two parts of the island.”
Alanna Lockward has distinguished herself as a journalist, classical dancer, writer, and curator of contemporary art. Born in Santo Domingo, she holds a Bachelor of Communication Sciences from the Universidad Autónoma Metropolitana-Xochimilco, Mexico City, and an MA in Art in Context from the Berlin University of the Arts. She received a degree in Dance Education from the Royal Academy of Dancing and, among other companies, danced with the National Classical Ballet, the Chamber Ballet of Jalisco, the Australian Opera, and Ballet Neubert. Lockward is the author of the novel Marassá y la nada (Sanctuary, 2013) and Apremio: apuntes sobre el pensamiento y la creación contemporánea desde el Caribe (Cendeac, 2006). She was cultural editor of Listin Diario, a researcher at the magazine Rumbo, and a Miami Herald columnist. She is currently a a columnist for Acento.com.do.
At the Museum of Modern Art [in the Dominican Republic] she served as Officer of International Affairs (1988), was a member of the selection jury for the XX Biennial of Visual Arts in 1996 and 2011. Lockward lives in Berlin and directs the Art Labour Archives, a platform that organizes interdisciplinary events in the Caribbean, Europe, Africa, and the United States, founded in 1996. She is also associate curator of avant-garde theater space Ballhaus Naunynstrasse and CEO of her own Transnational Decolonial Institute. As curator, she has been awarded by the Allianz Cultural Foundation, the Danish Arts Council, and the Nordic Council of Ministers.
For more information on the book (a 2009 prologue by Rubén Silié, Dominican Ambassador to Haiti; a 2012 prologue by Mexican journalist Paco Navarrete; and an introduction by the author) see http://acento.com.do/2012/opinion/205181-prologos-al-libro-un-haiti-dominicano-de-alanna-lockward/