Teofilo F. Ruiz
- Published in print:
- 2012
- Published Online:
- October 2017
- ISBN:
- 9780691153575
- eISBN:
- 9781400842247
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691153575.003.0008
- Subject:
- History, European Modern History
This chapter assesses the relationship between Carnival and the annual Corpus Christi celebrations in late medieval and early modern Spain. Carnival has always been associated with revelry, ...
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This chapter assesses the relationship between Carnival and the annual Corpus Christi celebrations in late medieval and early modern Spain. Carnival has always been associated with revelry, subversive inversions of the social order, and transgressive behavior. Meanwhile, Corpus Christi is the high point of the Catholic devotional cycle in early modern Spain. Although it seems odd to juxtapose a feast such as Carnival with that of the Corpus Christi, there was a progression—uneven but perceptible—from the carnivalesque to the elaborate appropriation of some of these allegedly subversive themes of Carnival by the carefully programmed procession of the living body of Christ through the streets of Iberian cities.Less
This chapter assesses the relationship between Carnival and the annual Corpus Christi celebrations in late medieval and early modern Spain. Carnival has always been associated with revelry, subversive inversions of the social order, and transgressive behavior. Meanwhile, Corpus Christi is the high point of the Catholic devotional cycle in early modern Spain. Although it seems odd to juxtapose a feast such as Carnival with that of the Corpus Christi, there was a progression—uneven but perceptible—from the carnivalesque to the elaborate appropriation of some of these allegedly subversive themes of Carnival by the carefully programmed procession of the living body of Christ through the streets of Iberian cities.
Kristin M. S. Bezio
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781628462388
- eISBN:
- 9781626746831
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462388.003.0009
- Subject:
- Literature, Comics Studies
Kristin M.S. Bezio asks us to enter Arkham Asylum, more or less literally, as players of the eponymous 2009 video game produced by Rocksteady. In her analysis, Bezio carefully outlines how the Joker ...
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Kristin M.S. Bezio asks us to enter Arkham Asylum, more or less literally, as players of the eponymous 2009 video game produced by Rocksteady. In her analysis, Bezio carefully outlines how the Joker acts not only as a villain but also as a guide, a situation that puts the player in the awkward position of following him through the Arkham maze. Engaging Derridean notions of the “nonspecies” and Bakhtin’s analysis of the “carnival,” Bezio argues that Batman: Arkham Asylum opens up in the process a more stimulating – because far less stable – ludic environment, one which ultimately is contained by the Joker’s game-ending decision to meet Batman in combat: “By agreeing to meet Batman on his own terms, the Joker has forsaken the only thing that gave him any power – after all, the Joker’s goal in manipulating Batman is not to destroy Batman, but to force him ‘to see the world as I see it.’”Less
Kristin M.S. Bezio asks us to enter Arkham Asylum, more or less literally, as players of the eponymous 2009 video game produced by Rocksteady. In her analysis, Bezio carefully outlines how the Joker acts not only as a villain but also as a guide, a situation that puts the player in the awkward position of following him through the Arkham maze. Engaging Derridean notions of the “nonspecies” and Bakhtin’s analysis of the “carnival,” Bezio argues that Batman: Arkham Asylum opens up in the process a more stimulating – because far less stable – ludic environment, one which ultimately is contained by the Joker’s game-ending decision to meet Batman in combat: “By agreeing to meet Batman on his own terms, the Joker has forsaken the only thing that gave him any power – after all, the Joker’s goal in manipulating Batman is not to destroy Batman, but to force him ‘to see the world as I see it.’”
Geoff Pearson
- Published in print:
- 2012
- Published Online:
- January 2014
- ISBN:
- 9780719087219
- eISBN:
- 9781781706145
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719087219.001.0001
- Subject:
- Society and Culture, Cultural Studies
This is an ethnographic account of English football fans who travel home and away with their team, based upon sixteen years’ participant observation. The author identifies a distinct sub-culture of ...
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This is an ethnographic account of English football fans who travel home and away with their team, based upon sixteen years’ participant observation. The author identifies a distinct sub-culture of supporter – the ‘carnival fan’ – who dominated the travelling support of the three clubs observed - Manchester United, Blackpool and the England national team. This accessible account follows these groups home and abroad, describing their interpretations, motivations and behaviour and challenging a number of the myths about ‘hooliganism’ and crowd control. An Ethnography of English Football Fans identifies the primary motivation of these fan groups to be the creation of a carnival – a period of transgression from the norms of everyday life based upon congregating in groups, alcohol consumption, humour and tomfoolery, and expressions of identity. In achieving these aims, the fan groups were frequently brought into conflict with the football authorities, police and ‘hooligan’ groups and this account includes explanations of some of the most serious instances of crowd disorder involving English fans in the last two decades. The book also looks at issues such as attitudes to gender, sexuality and race, and the impact of technology upon football fandom.Less
This is an ethnographic account of English football fans who travel home and away with their team, based upon sixteen years’ participant observation. The author identifies a distinct sub-culture of supporter – the ‘carnival fan’ – who dominated the travelling support of the three clubs observed - Manchester United, Blackpool and the England national team. This accessible account follows these groups home and abroad, describing their interpretations, motivations and behaviour and challenging a number of the myths about ‘hooliganism’ and crowd control. An Ethnography of English Football Fans identifies the primary motivation of these fan groups to be the creation of a carnival – a period of transgression from the norms of everyday life based upon congregating in groups, alcohol consumption, humour and tomfoolery, and expressions of identity. In achieving these aims, the fan groups were frequently brought into conflict with the football authorities, police and ‘hooligan’ groups and this account includes explanations of some of the most serious instances of crowd disorder involving English fans in the last two decades. The book also looks at issues such as attitudes to gender, sexuality and race, and the impact of technology upon football fandom.
Clarence Bernard Henry
- Published in print:
- 2008
- Published Online:
- March 2014
- ISBN:
- 9781604730821
- eISBN:
- 9781604733341
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604730821.003.0009
- Subject:
- Music, Ethnomusicology, World Music
This chapter sums up the key findings of this study on axé music and the African origins of Brazilian popular music. It explains that axé music and the African roots of Brazilian popular music are ...
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This chapter sums up the key findings of this study on axé music and the African origins of Brazilian popular music. It explains that axé music and the African roots of Brazilian popular music are embedded in a sacred/secular connection of religion, individual artists, Carnival organizations, music, musical instruments, drumming, dance, imagery, symbols, festive celebrations, and the richness of Afro-Brazilian culture. The chapter also highlights the role of West African àsé in Afro-Brazilians’ struggle for racial equality and economic opportunity.Less
This chapter sums up the key findings of this study on axé music and the African origins of Brazilian popular music. It explains that axé music and the African roots of Brazilian popular music are embedded in a sacred/secular connection of religion, individual artists, Carnival organizations, music, musical instruments, drumming, dance, imagery, symbols, festive celebrations, and the richness of Afro-Brazilian culture. The chapter also highlights the role of West African àsé in Afro-Brazilians’ struggle for racial equality and economic opportunity.
Michael B. Silvers
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780252042089
- eISBN:
- 9780252050831
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042089.003.0007
- Subject:
- Music, Ethnomusicology, World Music
This chapter looks at the cost of Carnival celebrations in an era of economic austerity due to drought and economic crisis. In 2014, ’15, and ’16, an ongoing drought of historic magnitude led the ...
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This chapter looks at the cost of Carnival celebrations in an era of economic austerity due to drought and economic crisis. In 2014, ’15, and ’16, an ongoing drought of historic magnitude led the Ceará governor to redirect state monies intended for Carnival and other music-related celebrations to more urgent drought-relief efforts. Is music as vital as water? In the context of national economic crisis and massive drought, this chapter suggests that electronic forró’s continued dominance points to the increasing neoliberalization of culture in Brazil in the wake of social successes for the Workers’ Party and a period of optimistic and ambitious cultural policy.Less
This chapter looks at the cost of Carnival celebrations in an era of economic austerity due to drought and economic crisis. In 2014, ’15, and ’16, an ongoing drought of historic magnitude led the Ceará governor to redirect state monies intended for Carnival and other music-related celebrations to more urgent drought-relief efforts. Is music as vital as water? In the context of national economic crisis and massive drought, this chapter suggests that electronic forró’s continued dominance points to the increasing neoliberalization of culture in Brazil in the wake of social successes for the Workers’ Party and a period of optimistic and ambitious cultural policy.
Hope Munro
- Published in print:
- 2016
- Published Online:
- May 2018
- ISBN:
- 9781496807533
- eISBN:
- 9781496807571
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496807533.003.0005
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the agency of women in soca and related genres, including various controversies they confront in this performance context. As women have created a space for themselves in ...
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This chapter examines the agency of women in soca and related genres, including various controversies they confront in this performance context. As women have created a space for themselves in Carnival mas and at the Carnival fetes, a number of “soca divas” have emerged to give voice to female revelers. This and other historical trends in soca underscore the rapidly changing nature of the popular music scene in Trinidad. The chapter considers the shifting attitudes and norms regarding gender roles, giving rise to gender diversity in various performance contexts, how these changes have played out in soca music, and how musical change and innovation continue to expand the possibilities within expressive culture in Trinidad and Tobago. It discusses the ways in which soca and its offshoots have created platforms for expression by women performers, including the two top female soca artists in Trinidad: Destra Garcia and Fay-Ann Lyons.Less
This chapter examines the agency of women in soca and related genres, including various controversies they confront in this performance context. As women have created a space for themselves in Carnival mas and at the Carnival fetes, a number of “soca divas” have emerged to give voice to female revelers. This and other historical trends in soca underscore the rapidly changing nature of the popular music scene in Trinidad. The chapter considers the shifting attitudes and norms regarding gender roles, giving rise to gender diversity in various performance contexts, how these changes have played out in soca music, and how musical change and innovation continue to expand the possibilities within expressive culture in Trinidad and Tobago. It discusses the ways in which soca and its offshoots have created platforms for expression by women performers, including the two top female soca artists in Trinidad: Destra Garcia and Fay-Ann Lyons.
Andrew R. Martin
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812407
- eISBN:
- 9781496812445
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812407.003.0002
- Subject:
- Music, Ethnomusicology, World Music
This chapter details the genesis of the US Navy Steel Band, an act born of Admiral Daniel Gallery's ambition. The admiral attended the Trinidadian Carnival in both 1955 and 1957, and was spellbound ...
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This chapter details the genesis of the US Navy Steel Band, an act born of Admiral Daniel Gallery's ambition. The admiral attended the Trinidadian Carnival in both 1955 and 1957, and was spellbound by the spirit, music, and sound of Trinidadian steelbands. So profound was the Carnival experience that it served as the driving force for Admiral Gallery's steelband obsession. The chapter examines the transition of the US Navy Steel Band from traditional military wind band to an untraditional military steelband from the perspective of Admiral Gallery, several former US Navy Steel Band members, and Trinidadian steelpan legend Ellie Mannette. US Navy Steel Band members had many advantages unknown to their Trinidadian counterparts, such as formal musical training and literacy, yet they were at a loss in terms of learning the art of steelband in a visceral sense.Less
This chapter details the genesis of the US Navy Steel Band, an act born of Admiral Daniel Gallery's ambition. The admiral attended the Trinidadian Carnival in both 1955 and 1957, and was spellbound by the spirit, music, and sound of Trinidadian steelbands. So profound was the Carnival experience that it served as the driving force for Admiral Gallery's steelband obsession. The chapter examines the transition of the US Navy Steel Band from traditional military wind band to an untraditional military steelband from the perspective of Admiral Gallery, several former US Navy Steel Band members, and Trinidadian steelpan legend Ellie Mannette. US Navy Steel Band members had many advantages unknown to their Trinidadian counterparts, such as formal musical training and literacy, yet they were at a loss in terms of learning the art of steelband in a visceral sense.
Andrew R. Martin
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812407
- eISBN:
- 9781496812445
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812407.003.0007
- Subject:
- Music, Ethnomusicology, World Music
This chapter illustrates the US Navy Steel Band's musical and cultural influence throughout New Orleans and the Gulf Coast. By the late 1960s, the US Navy Steel Band moved past its high-profile early ...
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This chapter illustrates the US Navy Steel Band's musical and cultural influence throughout New Orleans and the Gulf Coast. By the late 1960s, the US Navy Steel Band moved past its high-profile early years of chasing stardom and settled into a new phase that saw the band become a fixture of the US Navy's recruitment and goodwill outreach program on a national level. Examining the US Navy Steel Band's transition from San Juan to New Orleans is essential for understanding the band's musical and cultural influence throughout New Orleans and the Gulf Coast region during the 1970s. This is particularly the case when exploring the band's seamless integration into the New Orleans Mardi Gras tradition as well as ways in which the US Navy Steel Band infused elements of the Caribbean Carnival into their adopted cultural home.Less
This chapter illustrates the US Navy Steel Band's musical and cultural influence throughout New Orleans and the Gulf Coast. By the late 1960s, the US Navy Steel Band moved past its high-profile early years of chasing stardom and settled into a new phase that saw the band become a fixture of the US Navy's recruitment and goodwill outreach program on a national level. Examining the US Navy Steel Band's transition from San Juan to New Orleans is essential for understanding the band's musical and cultural influence throughout New Orleans and the Gulf Coast region during the 1970s. This is particularly the case when exploring the band's seamless integration into the New Orleans Mardi Gras tradition as well as ways in which the US Navy Steel Band infused elements of the Caribbean Carnival into their adopted cultural home.
Tania Isaac (ed.)
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034676
- eISBN:
- 9780813046303
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034676.003.0017
- Subject:
- Music, Dance
Tania Isaac suggests, in her writing here as in her choreography and performance pieces, an intense, complex experience of knowing her native island, St. Lucia, through its dance and its ways of ...
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Tania Isaac suggests, in her writing here as in her choreography and performance pieces, an intense, complex experience of knowing her native island, St. Lucia, through its dance and its ways of looking at the body. To do this she finds four names for St. Lucia which suggest metaphoric characterizations of the multiple selves of her island. She uses these selves to explore the movement of St. Lucian kwadril (quadrille), masquerade, calypso, and soca, of Carnival of the bands playing mas and the more individualistic Carnival of Ol' Mas. Isaac uses description and metaphor to suggest a density and variety of cultural information, a layering that can contain all contradictions.Less
Tania Isaac suggests, in her writing here as in her choreography and performance pieces, an intense, complex experience of knowing her native island, St. Lucia, through its dance and its ways of looking at the body. To do this she finds four names for St. Lucia which suggest metaphoric characterizations of the multiple selves of her island. She uses these selves to explore the movement of St. Lucian kwadril (quadrille), masquerade, calypso, and soca, of Carnival of the bands playing mas and the more individualistic Carnival of Ol' Mas. Isaac uses description and metaphor to suggest a density and variety of cultural information, a layering that can contain all contradictions.
Hazel Franco (ed.)
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034676
- eISBN:
- 9780813046303
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034676.003.0020
- Subject:
- Music, Dance
Hazel Franco braids the many strands of the two islands' (Trinidad and Tobago) folk dance cultures with their histories. She focuses on Afro-Trinidadian dances and their underlying African heritages ...
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Hazel Franco braids the many strands of the two islands' (Trinidad and Tobago) folk dance cultures with their histories. She focuses on Afro-Trinidadian dances and their underlying African heritages and various infusions, on Carnival traditions from the balls of French plantation owners to the development of traditional Carnival characters to the mid-20th century bands of sailors and ship's firemen following steel bands. She notes the different history and dances of Tobago, government innovations like the Best Village competitions, and the black power movement of the 1970s. She charts an arc of choreographers adopting folklore for the stage, with new theatrical fusions from pioneer Beryl McBurnie to Cyril St. Lewis to Astor Johnson.Less
Hazel Franco braids the many strands of the two islands' (Trinidad and Tobago) folk dance cultures with their histories. She focuses on Afro-Trinidadian dances and their underlying African heritages and various infusions, on Carnival traditions from the balls of French plantation owners to the development of traditional Carnival characters to the mid-20th century bands of sailors and ship's firemen following steel bands. She notes the different history and dances of Tobago, government innovations like the Best Village competitions, and the black power movement of the 1970s. She charts an arc of choreographers adopting folklore for the stage, with new theatrical fusions from pioneer Beryl McBurnie to Cyril St. Lewis to Astor Johnson.
Robert C. Davis and Garry R. Marvin
- Published in print:
- 2004
- Published Online:
- March 2012
- ISBN:
- 9780520238039
- eISBN:
- 9780520937802
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520238039.003.0011
- Subject:
- History, European Modern History
For centuries, Venice has been called the most beautiful city in the world, a title that can make one forget that not all the attractions it offers are strictly physical. After the fall of the ...
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For centuries, Venice has been called the most beautiful city in the world, a title that can make one forget that not all the attractions it offers are strictly physical. After the fall of the Serenissima, visitors may have come primarily to admire the paintings and architecture, or to visit the Lido baths in the summer, but they also continued to have a look at the festivals and were spectators at the various regattas. With the thinning and aging of the local population, Venetian culture has become like Venetian space, available for appropriation by tourists. This chapter explores three recent examples of this process: the Vogalonga (initiated in 1975 by local aficionados of Venetian rowing), the Festa del Redentore, and the Carnival of Venice. All three celebrations represent concrete realizations of a spirit of idealistic communitarianism that was especially diffuse in Italy in those years. Of the six bridge festivals celebrated under the Serenissima, the Redentore was probably the most important; it is also one of the two that has survived.Less
For centuries, Venice has been called the most beautiful city in the world, a title that can make one forget that not all the attractions it offers are strictly physical. After the fall of the Serenissima, visitors may have come primarily to admire the paintings and architecture, or to visit the Lido baths in the summer, but they also continued to have a look at the festivals and were spectators at the various regattas. With the thinning and aging of the local population, Venetian culture has become like Venetian space, available for appropriation by tourists. This chapter explores three recent examples of this process: the Vogalonga (initiated in 1975 by local aficionados of Venetian rowing), the Festa del Redentore, and the Carnival of Venice. All three celebrations represent concrete realizations of a spirit of idealistic communitarianism that was especially diffuse in Italy in those years. Of the six bridge festivals celebrated under the Serenissima, the Redentore was probably the most important; it is also one of the two that has survived.
Thomas F. Anderson
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780813035581
- eISBN:
- 9780813038131
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813035581.003.0003
- Subject:
- Society and Culture, Latin American Studies
The focus of this chapter—“Carnival and Ñáñiguismo: Poetic Syncretism in Alejo Carpentier's ‘Juego santo’”—is a little-studied poem by one of the earliest literary proponents of Afrocubanismo. This ...
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The focus of this chapter—“Carnival and Ñáñiguismo: Poetic Syncretism in Alejo Carpentier's ‘Juego santo’”—is a little-studied poem by one of the earliest literary proponents of Afrocubanismo. This chapter begins with a brief exploration of Carpentier's decisive role as a founder of this artistic and cultural movement, but the focus is on the poem itself and, more specifically, its relationship to and evocation of Afro-Cuban carnival traditions. The chapter demonstrates how—in an act of poetic syncretism—Alejo Carpentier melds two public spectacles that had long been associated with Ñáñiguismo, or the Abakuá secret society: semi-public, sacred processions that were performed as part of ñáñigo initiation ceremonies, and carnivalesque “comparsas ñáñigas,” which first emerged during nineteenth-century Día de Reyes celebrations, and then eventually became integrated into traditional carnival festivities.Less
The focus of this chapter—“Carnival and Ñáñiguismo: Poetic Syncretism in Alejo Carpentier's ‘Juego santo’”—is a little-studied poem by one of the earliest literary proponents of Afrocubanismo. This chapter begins with a brief exploration of Carpentier's decisive role as a founder of this artistic and cultural movement, but the focus is on the poem itself and, more specifically, its relationship to and evocation of Afro-Cuban carnival traditions. The chapter demonstrates how—in an act of poetic syncretism—Alejo Carpentier melds two public spectacles that had long been associated with Ñáñiguismo, or the Abakuá secret society: semi-public, sacred processions that were performed as part of ñáñigo initiation ceremonies, and carnivalesque “comparsas ñáñigas,” which first emerged during nineteenth-century Día de Reyes celebrations, and then eventually became integrated into traditional carnival festivities.
Wanda Rushing
- Published in print:
- 2009
- Published Online:
- July 2014
- ISBN:
- 9780807832998
- eISBN:
- 9781469605548
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/9780807895610_rushing.10
- Subject:
- History, American History: 20th Century
This chapter discusses the history of Carnival Memphis, which celebrated its seventy-fifth anniversary in June 2006. Members of the original Carnival association organized in 1931 during the throes ...
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This chapter discusses the history of Carnival Memphis, which celebrated its seventy-fifth anniversary in June 2006. Members of the original Carnival association organized in 1931 during the throes of the Great Depression. They intended to showcase Memphis to the region and the world as a modern, progressive city capable of hosting a festival promoting commerce, community, and celebration. Carnival founders included the presidents of the Retail Clothiers Association, the Cotton Exchange, and the Junior League. Supported by the directors of the Cotton Exchange, they tapped into the city's nineteenth-century commercial and social roots to find business sponsors and festival themes. Cotton Carnival founders succeeded in fostering civic participation, boosting community identity, attracting spectators and media attention, and promoting the region's most vital economic product at the time—cotton.Less
This chapter discusses the history of Carnival Memphis, which celebrated its seventy-fifth anniversary in June 2006. Members of the original Carnival association organized in 1931 during the throes of the Great Depression. They intended to showcase Memphis to the region and the world as a modern, progressive city capable of hosting a festival promoting commerce, community, and celebration. Carnival founders included the presidents of the Retail Clothiers Association, the Cotton Exchange, and the Junior League. Supported by the directors of the Cotton Exchange, they tapped into the city's nineteenth-century commercial and social roots to find business sponsors and festival themes. Cotton Carnival founders succeeded in fostering civic participation, boosting community identity, attracting spectators and media attention, and promoting the region's most vital economic product at the time—cotton.
Hope Munro
- Published in print:
- 2016
- Published Online:
- May 2018
- ISBN:
- 9781496807533
- eISBN:
- 9781496807571
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496807533.003.0006
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the ways that women have contributed to the steelband movement in Trinidad and Tobago over the course of its history, and the roles that they are now playing as pannists, ...
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This chapter examines the ways that women have contributed to the steelband movement in Trinidad and Tobago over the course of its history, and the roles that they are now playing as pannists, arrangers, and educators. On the surface, steel pan music seems to differ from calypso or soca in terms of performativity: as instrumental music, its conventions and practices are distinct from those of the genres of vocal music. However, the participation of women in the world of pan closely parallels their changing roles in various forms of expressive culture in Trinidad. The chapter considers the steelband movement's dramatic transformations reminiscent of those of calypso and Carnival during the 1940s and 1950s, including the rise of the Trinidad All-Steel Percussion Orchestra (TASPO) and the middle-class involvement with the movement.Less
This chapter examines the ways that women have contributed to the steelband movement in Trinidad and Tobago over the course of its history, and the roles that they are now playing as pannists, arrangers, and educators. On the surface, steel pan music seems to differ from calypso or soca in terms of performativity: as instrumental music, its conventions and practices are distinct from those of the genres of vocal music. However, the participation of women in the world of pan closely parallels their changing roles in various forms of expressive culture in Trinidad. The chapter considers the steelband movement's dramatic transformations reminiscent of those of calypso and Carnival during the 1940s and 1950s, including the rise of the Trinidad All-Steel Percussion Orchestra (TASPO) and the middle-class involvement with the movement.
Hope Munro
- Published in print:
- 2016
- Published Online:
- May 2018
- ISBN:
- 9781496807533
- eISBN:
- 9781496807571
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496807533.003.0007
- Subject:
- Music, Ethnomusicology, World Music
This conclusion summarizes the book's main findings, especially the important role that women have played in the maintenance, transmission, and innovation of musical practices in Trinidad and Tobago. ...
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This conclusion summarizes the book's main findings, especially the important role that women have played in the maintenance, transmission, and innovation of musical practices in Trinidad and Tobago. Changing attitudes regarding Trinidad's indigenous expressive forms—calypso, the steelband, the Carnival arts, Caribbean literature and fine art—came hand in hand with other freedoms. Shifting attitudes and norms regarding gender roles in Trinidad facilitated gender diversity in various performance contexts, as well as professional advancement for women in both artistic and social realms. The quality of life of women and their ability to earn a living has improved considerably from the independence period to the present, but various problems continue to linger, such as domestic violence, rape, human trafficking, and the exploitation of female workers. This conclusion discusses the ways in which expressive culture has helped in improving social conditions for women in Trinidad and Tobago.Less
This conclusion summarizes the book's main findings, especially the important role that women have played in the maintenance, transmission, and innovation of musical practices in Trinidad and Tobago. Changing attitudes regarding Trinidad's indigenous expressive forms—calypso, the steelband, the Carnival arts, Caribbean literature and fine art—came hand in hand with other freedoms. Shifting attitudes and norms regarding gender roles in Trinidad facilitated gender diversity in various performance contexts, as well as professional advancement for women in both artistic and social realms. The quality of life of women and their ability to earn a living has improved considerably from the independence period to the present, but various problems continue to linger, such as domestic violence, rape, human trafficking, and the exploitation of female workers. This conclusion discusses the ways in which expressive culture has helped in improving social conditions for women in Trinidad and Tobago.
Njoroge Njoroge
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9781496806895
- eISBN:
- 9781496806932
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496806895.003.0002
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines the rise and development of calypso in Trinidad. Trinidad is a rich site to explore issues of diaspora and historical development in the Caribbean since the island has the ...
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This chapter examines the rise and development of calypso in Trinidad. Trinidad is a rich site to explore issues of diaspora and historical development in the Caribbean since the island has the dubious distinction of being subject to all the major imperial powers in the region. Calypso is quintessentially urban, developed in the late 19th century through the intermingling of the largely once-rural proletariat, unemployed and under-employed ex-slaves, and formerly indentured Africans and other Creoles in the burgeoning city of Port-of-Spain. The music emerged from and was developed in the barrack yards, stick-fights, carnival tents, and city streets, and became a national music and symbol. This period is also one in which the economic penetration of the British into the island was transformed into formal political and ideological control, thus illuminating inter-imperialist rivalries and transformations, and the complications of political transition in a “plural society.”Less
This chapter examines the rise and development of calypso in Trinidad. Trinidad is a rich site to explore issues of diaspora and historical development in the Caribbean since the island has the dubious distinction of being subject to all the major imperial powers in the region. Calypso is quintessentially urban, developed in the late 19th century through the intermingling of the largely once-rural proletariat, unemployed and under-employed ex-slaves, and formerly indentured Africans and other Creoles in the burgeoning city of Port-of-Spain. The music emerged from and was developed in the barrack yards, stick-fights, carnival tents, and city streets, and became a national music and symbol. This period is also one in which the economic penetration of the British into the island was transformed into formal political and ideological control, thus illuminating inter-imperialist rivalries and transformations, and the complications of political transition in a “plural society.”
Shuyan Zhou
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9789888390809
- eISBN:
- 9789888390441
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888390809.003.0006
- Subject:
- Society and Culture, Gay and Lesbian Studies
Regarding the question of politics and play in Chinese Internet culture, this chapter re-examines particular effects of netizens’ carnival practices, as well as the complex interactions and ...
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Regarding the question of politics and play in Chinese Internet culture, this chapter re-examines particular effects of netizens’ carnival practices, as well as the complex interactions and contradictions among cyberculture, the official culture, and consumerism in China, by centering on a specific case of “Looking for Leehom” (zhao Lihong) and its related media discourses in 2012 and 2013. The case serves as an influential online carnival, starting from an online Boy’s Love fandom of those who participated in the fantasy matchmaking of two male celebrities. Further, it raises large questions about resistance, complicity, and negotiation among different cultures and media, particularly considering that online carnival was appropriated by a performance on the CCTV Spring Festival Gala in 2013 and then commented on by newspapers and magazines. The chapter inspects how the pleasure of Boy’s Love fantasy has been transferred, censored, and re-enabled between cyberculture and offline societies. By rethinking Bakhtin’s interpretation of carnival, the chapter concludes by exploring the cultural and social implications of “Looking for Leehom” and the potential power of the netizens’ fantasy.Less
Regarding the question of politics and play in Chinese Internet culture, this chapter re-examines particular effects of netizens’ carnival practices, as well as the complex interactions and contradictions among cyberculture, the official culture, and consumerism in China, by centering on a specific case of “Looking for Leehom” (zhao Lihong) and its related media discourses in 2012 and 2013. The case serves as an influential online carnival, starting from an online Boy’s Love fandom of those who participated in the fantasy matchmaking of two male celebrities. Further, it raises large questions about resistance, complicity, and negotiation among different cultures and media, particularly considering that online carnival was appropriated by a performance on the CCTV Spring Festival Gala in 2013 and then commented on by newspapers and magazines. The chapter inspects how the pleasure of Boy’s Love fantasy has been transferred, censored, and re-enabled between cyberculture and offline societies. By rethinking Bakhtin’s interpretation of carnival, the chapter concludes by exploring the cultural and social implications of “Looking for Leehom” and the potential power of the netizens’ fantasy.
Anna Servaes
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9781628462104
- eISBN:
- 9781626745599
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462104.003.0004
- Subject:
- Society and Culture, Social Groups
This chapter describes how the guionneurs perform La Guiannée on New Year’s Eve in Ste. Genevieve and Prairie du Rocher. The King’s Ball and the Twelfth Night Ball are also described, showing the ...
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This chapter describes how the guionneurs perform La Guiannée on New Year’s Eve in Ste. Genevieve and Prairie du Rocher. The King’s Ball and the Twelfth Night Ball are also described, showing the connection between the two events. Ultimately, these two different celebrations were part of a whole celebration, which began the Carnival season in the Midwest. Excerpts from interviews enrich the understanding of the two celebrations and the impact on the community to maintain its cultural heritage and identity.Less
This chapter describes how the guionneurs perform La Guiannée on New Year’s Eve in Ste. Genevieve and Prairie du Rocher. The King’s Ball and the Twelfth Night Ball are also described, showing the connection between the two events. Ultimately, these two different celebrations were part of a whole celebration, which began the Carnival season in the Midwest. Excerpts from interviews enrich the understanding of the two celebrations and the impact on the community to maintain its cultural heritage and identity.
Anna Servaes
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9781628462104
- eISBN:
- 9781626745599
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462104.003.0006
- Subject:
- Society and Culture, Social Groups
This chapter analyses the colonial disguise and its significance for the communities. Disguise and masking are integral elements to begging quest celebrations. They provide a way for participants to ...
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This chapter analyses the colonial disguise and its significance for the communities. Disguise and masking are integral elements to begging quest celebrations. They provide a way for participants to dress up and become someone else. This role reversal supplants everyday life to create the colonial life and invert social order. The paillasse or cornhusk costume, an evolution of a medieval character, inverts the natural order of life and death; nature is revived through the disguised, dancing individual. Role reversal also brings carnival laughter as a result of the comical actions by the performer: a jester who plays the king. Since the guionneurs use colonial costumes, the role reversal inspires an authenticity, defined by the participants and based on obligations for other festivals like the Rendezvous. Finally, masking hides the identity of the individual, completing the transformation and reviving the ancestor.Less
This chapter analyses the colonial disguise and its significance for the communities. Disguise and masking are integral elements to begging quest celebrations. They provide a way for participants to dress up and become someone else. This role reversal supplants everyday life to create the colonial life and invert social order. The paillasse or cornhusk costume, an evolution of a medieval character, inverts the natural order of life and death; nature is revived through the disguised, dancing individual. Role reversal also brings carnival laughter as a result of the comical actions by the performer: a jester who plays the king. Since the guionneurs use colonial costumes, the role reversal inspires an authenticity, defined by the participants and based on obligations for other festivals like the Rendezvous. Finally, masking hides the identity of the individual, completing the transformation and reviving the ancestor.
Miki Pfeffer
- Published in print:
- 2014
- Published Online:
- May 2017
- ISBN:
- 9781628461343
- eISBN:
- 9781626740730
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461343.003.0011
- Subject:
- History, American History: 19th Century
This chapter details events in February 1885. In the Woman's Department, when the weather was cold and stormy, visitors gathered in the “bright and sunny home-like library” that Julia Howe's daughter ...
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This chapter details events in February 1885. In the Woman's Department, when the weather was cold and stormy, visitors gathered in the “bright and sunny home-like library” that Julia Howe's daughter Maud had created. As an author herself, Maud had great love and respect for the books that filled the shelves. Publishers and writers were responding generously to her requests for donations, especially when she proposed that the books be given to a New Orleans library at the end of the Exposition. Some writers even added their famous signatures. By the end of the Exposition, the collection was up to almost fourteen hundred volumes. Increased numbers of visitors browsed these shelves and eyed exhibits everywhere at the Exposition, especially as Carnival season got underway.Less
This chapter details events in February 1885. In the Woman's Department, when the weather was cold and stormy, visitors gathered in the “bright and sunny home-like library” that Julia Howe's daughter Maud had created. As an author herself, Maud had great love and respect for the books that filled the shelves. Publishers and writers were responding generously to her requests for donations, especially when she proposed that the books be given to a New Orleans library at the end of the Exposition. Some writers even added their famous signatures. By the end of the Exposition, the collection was up to almost fourteen hundred volumes. Increased numbers of visitors browsed these shelves and eyed exhibits everywhere at the Exposition, especially as Carnival season got underway.
