"The Swedish Masonic Presence in the Caribbean and the Importance of New Academic Research" or "How Real Masonic Historical Research bypassed the Twentieth Century."

Without solid contemporary scholarship, our knowledge of Masonic history is limited to myths, legends, and the fairytales representing what one Grand Lodge or another wants us to think. Without critical analysis and access to original sources, there is and can be no credible Masonic history. Gould, Pike, and McClennen may have served in the relatively benighted 19th Century, but they are woefully outdated and their flaws are all too obvious to anyone familiar with modern scholarly disciplines.

Fortunately, a new day is dawning. Indeed it has dawned, and there are studious and serious scholars looking under all the rough ashlars of what passed for Masonic history until recently.

One source of solid and absolutely fascinating information is REHMLAC - Revista de Estudios Históricos de la Masonería. REHMLAC casts a wide net, publishing articles in several languages, although with a focus on Latin America and the Caribbean, English, French, and Spanish predominate.  One fascinating article included in their inaugural issue (2009) was notable for several reasons. The first was that the topic is one most would not expect to find in relation to the Caribbean, that of Swedish Freemasonry. The other was the high standard it marked at the outset, the article being written by none other than Andreas Önnerfors.  The article is entited "Swedish Freemasonry in the Caribbean: How St. Barthélemy turned into an Island of the IXth Province." The article focuses on the establishment of freemasonry on St. Barthélemy, its connections to the Swedish Grand Lodge, its membership structure and activities mainly between 1797 and 1807. The author notes that there are plenty of documents which describe ritual work, organisation and ideology. These connections have hitherto never been analysed and the paper presented for the first time source material from the Archive of the Swedish Order of Freemasons on the lodge La Sudermanie in the capital of the island, Gustavia.

This periodical covers many other topics, some of which are perhaps less surprising, but all of which shed real light upon what really was happening in the Masonic world of the past two to three hundred years. It definitely sheds light on what Grandpa didn't say about Freemasonry. 

Articles include subjects such as "The Caribbean space: a key to power in the French Freemasonry," "Masonic Symbolism in the Cemetery of Colon" (in Cuba), as well as topics covering Mexico, Central and South America, and the influence of these forces on the Freemasonry of the United States, which wasn't in as much of a vacuum as it appears to be today.

REHMLAC is just one of a number of sources for new, solid academic research which is clearing the dust off of our conceptions of what Freemasonic history really comprises, of what the truths of the past were and how they sometimes look very different from what we were led to believe. Dare to explore!

An introduction to REHMLAC may be had through their website, http://rehmlac.com/  and they are sponsored by La Universidad de Costa Rica. 

Go have a look, Grandpa probably never had a clue...

CARIBBEAN INTRANSIT BIANNUAL ARTS JOURNAL

*CFP: CARIBBEAN INTRANSIT  BIANNUAL ARTS JOURNAL*

*ISSUE 4: Cutting Edges: New Media & Creative Entrepreneurship*

Throughout the Caribbean region and its multiple Diasporas, artistic form and practice are at risk.  Since the beginning of a global economic crisis in 2008, the arts have been particularly impacted through severe losses of funding and institutional support.  These ongoing global challenges to the

practice and production of the arts affect the Caribbean in specific ways.  Mobilizing the crisis as a critical point of departure, this volume of Caribbean Intransit seeks to examine both the inherent risks and possibilities of the intersection of new technologies, entrepreneurship and artistic practice. How might we deploy the cutting edges of artistry, technological innovation and business practices to find creative solutions to these challenges?  How have entrepreneurship, electronic and digital networks, mobilities and artistic projects threatened or empowered the arts in times of crisis? Are indigenous or traditional practices at risk in the age of global communication and exchange?  How can experiments in new media, performance, film, literature, music, art, and architecture articulate financially sustainable aesthetic interventions in the contemporary moment?

This volume of *Caribbean InTransit* invites exploration of these cutting edges and their myriad interpretations as both pitfall and promise.  Essays and creative works may explore but are not limited to the following possible topics:

•Caribbean spaces and/or place-based art in digital representations 

•Nationality, transnationality and global citizenship 

•Narratives of cultural, entrepreneurial and/or community struggles

•Locality and locatedness

•Culture as a political, social and/or economic strategy

•Case studies of cultural work, methods and iconographies

•Intra- or cross-Caribbean spaces, engagements and discussions

•Examinations of City/Country

•Anti- and/or De-colonial aesthetics and transmodern strategies of

re-existence

We welcome 4000-5000 word essays in English, Spanish or French. Artwork, music, dance, poetry, mas or junkanoo designs or any other artistic expression with blurbs in English, French, Spanish, Dutch, dialect or creole are welcome as well as films in any language with subtitles in English. Fiction or non-fiction writings in English or dialects will be accepted. Writings in dialect should be accompanied by a translation of terms. Research papers on visual or vocal modes of expression as well as interviews of contemporary artists in English are also welcome.

ALL Submissions should be accompanied by the following in one document in this order:

**Name*

** Professional affiliation*

** Contact information*

** Title of Attached manuscript*

** keywords, at least 3  (essays only)*

**an abstract of not more than 150 words (essays & interviews only)*

**a biography of not more than 60 words*

** A professional photograph of yourself (optional)*

*Essays, Interviews and Reviews**:*

Text including endnotes must be in Microsoft Word format (double-spaced, in a readable font) and images in jpg. format. Titles in the body of the text should be italicized with section titles in bold.  All essays must have accurate bibliographies. MLA format should be used. Video/sound clips can be sent via e-mail or on CD/DVD.*

*Word limits for various submissions are as follows:-*

*Academic papers: 7500 words*

*Reviews: 3000 words*

*Profiles/Essays on Artists and Art Work: 1000-1500 words*

*Upcoming Events/Releases/Shows or highlights from arts organizations:

100-250 words*

*Email submissions to: submissions@caribbeanintransit.com  and cc to

caribintransit@gmail.com*

*DEADLINE: AUGUST 15th 2012*

*Cutting edges : New media & Creative entrepreneurship*

Call for papers Issue 4

L'idée de Caribbean Intransit est de fournir un 'lieu de rencontre' créatif pour les artistes antillais afin de leur permettre de partager leurs idées et travaux au sein d'une communauté de producteurs culturels, d'étudiants, de chercheurs, d'activistes et d'entrepreneurs. Caribbean intransit fonctionnera comme portail d'accès pour ces individus et groupes qui pourront utiliser ces ressources comme outils sociopolitiques de changement progressif dans la Caraïbe et dans ses multiples diasporas.

Chaque numéro de Caribbean Intransit présentera les points de vue d'une diversité d'artistes, d'universitaires et d'entrepreneurs concernant un thème particulier. Les participants sont invités à soumettre des travaux de recherche et à entrer en contact avec d'autres contributeurs en réponse à leur travail. De cette façon, nous espérons bâtir une communauté intéressée par la création de réseaux de

travail et de réflexion ainsi que par celle de nouveaux espaces de croissance. Nous cherchons à identifier la communauté, la production artistique et l'entreprenariat comme modes de transition et connexion pour les îles de la Caraïbe et ses diasporas.

Pour plus d'information concernant les appels à contribution des autres numéros, l'équipe éditoriale, veuillez vous référer à notre site www.caribbeanintransit.com. Rejoignez notre page facebook

"Caribbean-Intransit".

*CARIBBEAN INTRANSIT  BIANNUAL ARTS JOURNAL*

*ISSUE 4: Cutting Edges: New Media & Creative Entrepreneurship*

Dans toute la Caraïbe et pour toute la diaspora caribéenne, les pratiques et les formes artistiques sont fragiles. Depuis le début de la crise économique mondiale en 2008, les arts ont souffert de pertes financières importantes et d'une réduction considérable des soutiens institutionnels.  Les défis persistants et internationaux que doivent relever la pratique et laproduction artistiques affectent la Caraïbe de manière spécifique. Prenant la crise comme difficile point de départ à la réflexion, ce numéro de Caribbean Intransit se propose d'évaluer les risques inhérents à la rencontre des nouvelles technologies, des pratiques artistiques et de l'esprit d'entreprise aussi bien que les possibilités offertes par une telle rencontre. Comment devons-nous utiliser les pratiques artistiques dynamiques, les innovations technologiques et les pratiques commerciales existantes pour trouver des solutions créatives aux défis propres à l'espace caribéen ? Comment l'esprit d'entreprise, les réseaux sociaux, la mobilité et les projets artistiques ont-ils fragilisé ou au contraire renforcé les arts dans ces temps de crise ? Les pratiques indigènes et traditionnelles sont-elles en danger à l'ère de la globalisation de la communication et des échanges ? Comment les expérimentations dans les nouveaux médias et la performance, en cinéma et en vidéo, en littérature, musique, arts plastiques et en architecture constituent-elles de manière esthétique des interventions économiquement durables et valides pour les

temps actuels ?

Ce numéro de Carribean In Transit invite à explorer ces dynamiques et leurs interprétations multiples pour les embûches qu'elles réservent et pour les promesses qu'elles contiennent.

Les contributions théoriques ou artistiques pourront considérer les sujets suivants* :

-       Les espaces caribéens et/ou l'art marqué du sceau du lieu dans les représentations numériques : nationalité, trans-nationalité, global citizenship

-       Les récits des combats culturels, personnels ou d'une communauté

-       Le lieu comme ancrage ou référence

-       La culture comme stratégie politique, sociale et/ou économique

-       Etude de cas de productions culturelles, de méthodologies et

d'iconographies

-       Les échanges et les engagements à l'intérieur d'un espace caribéen

ou entre plusieurs espaces caribéens

-       Les dynamiques ville/campagne

-       Les esthétiques anticoloniales ou de décolonisation

-       Les stratégies transmodernes de re -naissance

*liste non-exhaustive.

Les articles seront soumis en anglais, espagnol ou en français et n'excéderont pas 5000 mots. Les propositions artistiques, musicales, poétiques, chorégraphiées, masques et costumes de carnaval ou de junkanoo et toute autre forme d'expression artistique accompagnées de textes de présentation en anglais, français, espagnol, allemand, patois ou créole seront considérées au même titre que les films et les vidéos. Les articles académiques sur les arts visuels ou la musique ainsi que les entretiens avec des artistes contemporains sont également les bienvenus.

Les textes et les productions en patois proposeront une traduction.**

*Tous les articles soumis seront accompagnés d'un document contenant les informations suivantes, dans l'ordre indiqué : *

**Nom*

** Statut du contributeur*

** Adresse, mail*

** Titre du manuscrit joint*

** Mots-clé (au moins trois) pour les articles*

**un résumé de 1500 mots*

**une biographie n'excédant pas 60 mots*

**une photographie académique (facultatif) *

*Contributions, Entretiens et Recensions: *

*Les articles incluant des notes de bas de pages seront au format Microsoft Word (espace double, sur fond blanc), les images au format jpg. Les titres dans le corps du texte seront en italique et ceux des sous-parties en gras. Tous les articles seront soutenus d'une bibliographie à jour au format MLA.

Les vidéos et les clips pourront être envoyés par messagerie électronique ou sur support CD ou DVD.  Les conditions pour les différentes candidatures sont les suivantes:*

*Articles : 7500 mots*

*Recensions: 3000 mots*

*Articles consacrés à un  artiste et une œuvre: 1000-1500 mots*

*Annonces d'un événement ou d'une publication : 100-250 mots*

*Les propositions seront envoyées à

**submissions@caribbeanintransit.com*<submissions@caribbeanintransit.com>

*  et en CC **caribintransit@gmail.com* <caribintransit@gmail.com>

Date limite de soumission : 15 Août 2012   

Orden de los Caballeros de la Luz

La Orden de Los Caballeros de la Luz (The Order of the Knights of Light) claims to be the only one fraternal order which is authentically Cuban as other orders such as the long-established Freemasons within Cuba are universal in character.
The Knights of the Order of Light was founded in Philadelphia May 9, 1873, by its founder José González Curbelo and his mentor and guide Jose de la Luz y Caballero. José González Cuban Curbelo was given the task of organizing a mutual aid institution dedicated to the achievement of independence for Cuba to accomplish this goal brought together a group of patriots living in the city of Philadelphia in the United States. This group first met on April 20, 1873 to make preparations for founding a secret society of mutual aid called ¨The Light¨. Its first president was José González Curbelo.

Lodges were established in Philadelphia, New York, Los Angeles, and several cities in Florida, including Ibor City (Tampa) and Miami, as well as in Key West. Minutes and dues books from Philadelphia Lodge No. 1 from 1873-1880 are in the collection of the Historical Society of Philadelphia.

The Order continues as a primarily fraternal order, albeit one which places a strong emphasis on national pride within Cuba to this day. In 2010, with much fanfare, the Order celebrated the centenary of its instillation in an Independent Cuba. As late as 1983, Orden Caballero De La Luz Logia Miami Numero 58, Inc., incorporated itself under Florida law as a Domestic non-profit organization, where a number of lodges are said to continue in operation.