Theme: Changing the Narrative
Our lives are full of stories – we hear them, see them, make them, experience them, live them. Stories are also often told from one particular point of view i.e. the creator’s.
All art tells a story—from the earliest cave paintings to Mozart’s operas to Hitchcock’s films to JK Rowling’s books to photographs of your children. Art can be an expression of someone’s mind or feelings, or it can relate events that happen, or it can create imaginary worlds for a viewer to inhabit. Even the most abstract tells a story, and all of the stories art tells take on different meanings for different people.
We have seen how movements like #MeToo have changed Hollywood, the films it makes and the people who make them. We have seen how people can change their country through the choices they make, or by allowing others to make choices for them.
2019’s CArtsCon theme challenges you to change the narrative. Change the story. Change the storyteller. Change the protagonists. Change the medium. Does an artist make art, or does art make an artist? Can you create multiple stories for your audience? Or can the audience create art with you?
To that end also, we invite people who work with communities to come forward and share how the arts have changed their communities.
Come along and join (or add to) the debates and discussions.
Some of the topics below can serve as a guide for speakers and presenters:
- Conformism and conformity in the arts
- Cultural appropriation
- Representation of gender, race, sexual orientation, age, (dis)ability
- Using the arts to educate and transform society
- The reciprocal dialogue between the arts and reality
- Techniques employed to motivate, educate, inform, and persuade
- The power of various art forms to create awareness and thought (including theatre, film, dance, writing, visual arts, etc.)
- Ethical considerations for the arts
- Politically-correct art: an oxymoron?
- Health and well-being through the arts
- Historical cases and examples of how art changed the narrative
- The evolving lexicon of artistic idioms
- Arts education
- Future-proofing arts disciplines
- Community involvement and development
- Art sponsorship, funding, and/or curatorship
- Art as a movement
These and other sub-topics will be explored through a variety of tracks. The tracks will include: Visual Presentations; Arts Workshops; Academic Papers; Creative Writing; A Short Film Festival; Art History Classes; Art Demos; Industry Panel; and, an Art Exhibit.
Artists in all arts disciplines and media; academics, archivists, historians, curators, guides, students, researchers, curriculum planners, policy makers, photographers, and professionals in the fields of media, education, arts, music, humanities, science, and social sciences; Financial professionals working in arts and arts related fields.
Abstracts (proposals) should be no longer than 500 words and must be written in English. Headings and subheadings to make keywords or topics stand out would be appreciated.
Contents should include a rationale for the work, basic methodology and findings (if research‐based), a brief discussion of the content, and a recommendation/conclusion (if applicable).
Please ensure that the following info is included with each submission: contributor’s full name, title, department/university/organisation (if applicable), email and phone contact details.
- Typeface: Please use Arial or Helvetica. Headings (size 16, bold). Subheadings (size 14, bold). Normal text (size 11).
- The header (size 8) should be the name of the submission centred at the top of the page.
- The footer (size 8) should comprise the name of the author (Last Name, F.) on the left hand side and the page number on the right‐hand side.
- Any bibliographical information should use the Harvard or Chicago Manual of Style system of citation.
Deadlines and Expectations:
- Proposal abstracts are due on March 2, 2018. Please submit all abstracts here.
- All individuals who have made submissions will be notified of the final decision by email on or before 31 March 2017.
- Completed submissions (including any attachments or media) must be received by 15 June 2017, unless indicated otherwise in the individual track descriptions. CArtsCon reserves the right to exclude any final submission that is incomplete and/or that does not reflect the content, quality, and tone of the initial proposal.
All selected participants must register for the conference, except for artists whose works have been selected for the Film Festival.
Note: Any participants who require invitation letters for visa or travel document purposes may request these in writing. More information on visas is available on this website.
All entries must be submitted as indicated in the below description(s). Click here for prices and registration.
Call For Participation
Click each heading to see the guidelines for each track.
Academic papers will be read at the conference. The maximum length of time for each reading will be 30-50 minutes. There will be time for a Q&A after each reading.
Abstracts (proposals) submitted may include graduate papers and papers proposed for publication—and accompanying slide shows are welcome. Abstracts may utilise quantitative or qualitative approaches or their combination in mixed methods. The following will be accepted: Descriptive studies; review articles; analytical/discussion papers; strategy papers; business plans; scientific papers; phenomenology; ethnography; narrative; and research papers. All submissions should be related to the conference theme. There is a limit of two submissions per author. Individuals selected are expected to attend the conference. An abstract summarizing the subject and theme of your paper must be received by 1 March 2019. A Final Copy of your paper must be received by 31 May 2019.
There will be an art exhibit, in all media, at the conference. The art does not need to overtly address the theme; however, exhibiting artists will each deliver a short (5 minutes or less) statement on how culture, time, and/or passion influenced the work, at the opening of the exhibit. Artists will be required to submit a written statement (50 words or less), which we will include at the exhibit, along with a brief bio. Artists will be expected to offer their submissions for sale. 20% of all sales will go to Warnborough College, to pay for the exhibition space. We will accept art in any media: painting, sculpture, fibre art, photography, ceramic, jewellery, fabric, assemblage, collage, mixed media, etc. Each artist gets a table approximately 5 feet (1.5 meters) long. Both of your pieces of art need to fit on that table. Apart from that, we won't dictate size. We will be flexible. Please Just let us know what you have in mind.
Submit images of finished works, or works-in-progress, in JPEG formats. JPEGS must be 300 dpi and maximum 1024 pixels on the longest side. Include the title and dimensions of the work, and a one-sentence description of the piece. Artists selected to exhibit their artwork will be responsible for its transportation either to Warnborough HQ by 15 July 2017. All art must be exhibit ready. Artists will be responsible for retrieving their entries at the close of the conference. There is a limit of two submissions per artists.
Deadline for submission of JPEGs of works in progress and one-sentence description of each work is due 1 March 2019. Images of final submission, bio, and written statement will be due 31 May 2019.
There will be a festival of ‘short shorts’ from all genres at the conference. Themaximum length for each work will be 8 minutes (including all credits). Live action, animation, documentary, dance/performance, fine/art conceptual, and music videos are welcome. Laughing and crying are both cathartic — and relate to our theme —so comedies and dramas are equally encouraged.
The work must be original and cannot include previews and advertising films, sequences from feature length films, unaired episodes of established TV series, unsold TV series pilots, and/or any previously copyrighted materials. The shorts do not need to overtly address the theme, however participating artists who attend the conference will each deliver a short (3 minutes or less) statement on how illusion influenced the work or vice versa. Participants who do not attend the conference will need to send a 1-2 minute statement on how culture, time, and/or passion influenced the work, in a separate file. There is a limit of two submissions per artist.
Summary of film(s) must be received by 1 March 2019. Rough cuts of works in progress must be received by 30 April 2019, in QuickTime.mov formats (or formats that can be converted to QuickTime). Final cuts of accepted works must be submitted in the highest resolution quality QuickTime formats, along with a finalised artist bio, and the video statement (if the artist will not be attending the conference). Those artists who will attend the conference must submit a brief written statement. All final materials must be received by 31 May 2019.
Visual presentations (including demos) will be delivered at the conference—in an auditorium setting with a stage and screen. The maximum length of time for each presentation will be 45 minutes, and strict adherence to that timetable will be required. There will be time for a Q&A after each presentation. Participants will not read their presentations. They must talk about their chosen subject matter in a lively fashion—and visuals must accompany the presentations. Abstracts must summarise the subject and nature of the presentation, and indicate how it relates to our conference theme. The following will be accepted: Slide shows (incl. Power Point presentations); demonstrations (using tangible materials and props); object lessons; show and tell presentations; and, other presentation formats. There is a limit of two submissions per presenter. Individuals selected are expected to attend the conference.
A proposal abstract of your presentation must be received by 1 March 2019. Final presentations must be received by 31 May 2019.
There will be one- to two- hour creative writing workshops open to all skill levels, which in some way address the conference theme. Instructors will offer ‘Being a Writer’ workshops, during which time a writing or screenwriting exercise will be explored. All workshops must be designed to be “doable” for all skill levels (including novices) and the goal will be for each attendee to complete a writing exercise during the session. There is a limit of two submissions per instructor.
An abstract (proposal describing the workshop) and a list of equipment needed must be received by 1 March 2019. A resumé indicating your qualification to lead the workshop, a final proposal must be received by 15 April 2019. A Final Syllabus or teaching outline must be received by 31 May 2019.
There will be one- to two- hour art workshops open to all skill levels, in all media, which in some way address the conference theme. Instructors will offer ‘Be an Artist for an Hour’ workshops, for which supplies will be readily available. Instructors will be responsible for providing all supplies to attendees. The cost of supplies may not exceed $5.00 USD per person (€3.784 or £3.227) and will be worked into the event fee. Instructors will be reimbursed up to the above amounts, upon presentation of receipts. Instructors will know what the maximum number of attendees will be, and will have a final count of those parties registered one (1) week prior to the event. Instructors may have supplies shipped to Warnborough College prior to the conference; however, shipping costs will not be included in reimbursements. Instructors must deliver all supplies to the workshop venue on the morning of the event. Instructors may provide tools and materials (such as brushes, paint mediums, carving implements) that will be returned at the end of the workshop. However, no highly toxic substances or dangerous tools/materials may be used. All workshops must be designed to be “doable” for all skill levels (including novices) and the goal will be for each attendee to complete a simple project during the session. There is a limit of two submissions per instructor.
An abstract (as per the general guidelines) describing the workshop must be received by 1 March 2019. A resume or proof of your qualification to lead the workshop, and a JPEG of a sample project must be received by 15 April 2019. A Final Syllabus along with a complete list of tools and materials that will be provided at the workshop must be received by 31 May 2019.
There will be one- to two- hour art history classes offered at the conference. Topics may include (but are not limited to) specific periods, artists, styles, and/or movements in art, curricula development, methodologies, curatorship, and business and professional development. All topical programs will need to be related, in some way, to the conference theme, and should appeal to both newcomers to art history and professionals. Any curricula development programs should utilize the theme to demonstrate facets of the system or methodology. These classes must be designed to encourage attendees’ participation, so the approach should be interactive. The instructor is welcome and encouraged to use visuals, and may issue hand-outs of 6 pages or less to each attendee, as long as they can be reproduced on a regular copier machine. (No fancy bells or whistles!) There is a limit of two submissions per instructor.
An abstract (proposal describing the class) and a list of equipment needed must be received by 1 March 2019. A resumé indicating your qualification to lead the workshop and a final proposal must be received by 15 April 2018. A Final Syllabus or teaching outline must be received by 31 May 2019.
There will be one- to two- hour classes offered at the conference on topics in radio, film and/or television. Topics may include (but are not limited to) specific periods, artists, styles, and/or movements in these media forms, history, curricula development, methodologies, and business and professional development. All topical programs will need to be related, in some way, to the conference theme, and should appeal to both newcomers to film, radio and TV, as well as professionals. Any curricula development programs should utilize the theme to demonstrate facets of the system or methodology. These classes must be designed to encourage attendees’ participation, so the approach should be interactive. The instructor is welcome and encouraged to use visuals, and may issue hand-outs of 6 pages or less to each attendee, as long as they can be reproduced on a regular copier machine. (No fancy bells or whistles!) There is a limit of two submissions per instructor.
An abstract (proposal describing the class) and a list of equipment needed must be received by 1 March 2019. A resumé indicating your qualification to lead the workshop and a final proposal must be received by 15 April 2019. A Final Syllabus or teaching outline must be received by 31 May 2019.
We will hold an industry panel during the conference. Sub-topics related to the broad theme will be examined, on subjects that are current, relevant, and somewhat debated in the fields of art, art history, and creative writing. There will be a call for industry practitioners, academics and other professionals to form a panel to lead the discussions. There will be one moderator. The overriding goal of this event is participation and information exchange by the attendees. The panel discussion will run for one hour.
If you are keen to participate as a panellist, please provide your name and curriculum vitae by 1 March 2019. Any masters of hand-outs to be distributed must be received by 31 May 2019.
There will be a café evening, featuring readings, book signing, and sales. This is open to “indie” (independently published) authors who have self-published (or will publish) a work independently, or through a small independent press, by the time of the event. Your book does not necessarily need to overtly address the theme. All genres are welcome, however emphasis will be placed on fiction. Featured authors will each read an excerpt from their book (for about 10 minutes)—and will sign books during the event. Warnborough College will earn a 20% commission on all books sold at the event. Contributing authors will be responsible for getting their books to the conference.
All authors interested in participating should send a brief bio, book title, and brief book summary by 31 March 2019. Final confirmation of your attendance must be received by 31 May 2019.