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.
Leslie A. Wade, Robin Roberts, and Frank de Caro
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781496823786
- eISBN:
- 9781496823823
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496823786.001.0001
- Subject:
- Sociology, Culture
After Hurricane Katrina devastated New Orleans and the surrounding region in 2005, the city debated whether to press on with Mardi Gras or cancel the parades. Ultimately, they decided to proceed. New ...
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After Hurricane Katrina devastated New Orleans and the surrounding region in 2005, the city debated whether to press on with Mardi Gras or cancel the parades. Ultimately, they decided to proceed. New Orleans’s recovery certainly has resulted from a complex of factors, but the city’s unique cultural life—perhaps its greatest capital—has been instrumental in bringing the city back from the brink of extinction. Voicing a civic fervor, local writer Chris Rose spoke for the importance of Carnival when he argued to carry on with the celebration of Mardi Gras following Katrina: “We are still New Orleans. We are the soul of America. We embody the triumph of the human spirit. Hell. We ARE Mardi Gras”. Since 2006, a number of new Mardi Gras practices have gained prominence. The new parade organizations or krewes, as they are called, interpret and revise the city’s Carnival traditions but bring innovative practices to Mardi Gras. The history of each parade reveals the convergence of race, class, age, and gender dynamics in these new Carnival organizations. Downtown Mardi Gras: New Carnival Practices in Post-Katrina New Orleans examines six unique, offbeat, Downtown celebrations. Using ethnography, folklore, cultural, and performance studies, the authors analyze new Mardi Gras’s connection to traditional Mardi Gras. The narrative of each krewe’s development is fascinating and unique, illustrating participants’ shared desire to contribute to New Orleans’s rich and vibrant culture.Less
After Hurricane Katrina devastated New Orleans and the surrounding region in 2005, the city debated whether to press on with Mardi Gras or cancel the parades. Ultimately, they decided to proceed. New Orleans’s recovery certainly has resulted from a complex of factors, but the city’s unique cultural life—perhaps its greatest capital—has been instrumental in bringing the city back from the brink of extinction. Voicing a civic fervor, local writer Chris Rose spoke for the importance of Carnival when he argued to carry on with the celebration of Mardi Gras following Katrina: “We are still New Orleans. We are the soul of America. We embody the triumph of the human spirit. Hell. We ARE Mardi Gras”. Since 2006, a number of new Mardi Gras practices have gained prominence. The new parade organizations or krewes, as they are called, interpret and revise the city’s Carnival traditions but bring innovative practices to Mardi Gras. The history of each parade reveals the convergence of race, class, age, and gender dynamics in these new Carnival organizations. Downtown Mardi Gras: New Carnival Practices in Post-Katrina New Orleans examines six unique, offbeat, Downtown celebrations. Using ethnography, folklore, cultural, and performance studies, the authors analyze new Mardi Gras’s connection to traditional Mardi Gras. The narrative of each krewe’s development is fascinating and unique, illustrating participants’ shared desire to contribute to New Orleans’s rich and vibrant culture.
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.
Megan Holt
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781496817396
- eISBN:
- 9781496817440
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496817396.003.0001
- Subject:
- Sociology, Race and Ethnicity
Megan Holt interviews Merline Kimble, founder of the current incarnation of the Gold Digger Baby Dolls. The name of the group pays homage to the original Gold Digger group, founded by Kimble’s ...
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Megan Holt interviews Merline Kimble, founder of the current incarnation of the Gold Digger Baby Dolls. The name of the group pays homage to the original Gold Digger group, founded by Kimble’s grandparents and disbanded during World War II. Kimble discusses her family’s place within the Baby Doll tradition and the resurgence of interest in that tradition in recent years. Kimble acknowledges the link between masking and freedom, stressing that a sense of freedom is particularly important for the women who participate in Baby Doll culture. She notes that baby dolls are not defined by age or gender--men and women, children and elders, all have a place in the masking tradition, a tradition she hopes will live on through the next generation.Less
Megan Holt interviews Merline Kimble, founder of the current incarnation of the Gold Digger Baby Dolls. The name of the group pays homage to the original Gold Digger group, founded by Kimble’s grandparents and disbanded during World War II. Kimble discusses her family’s place within the Baby Doll tradition and the resurgence of interest in that tradition in recent years. Kimble acknowledges the link between masking and freedom, stressing that a sense of freedom is particularly important for the women who participate in Baby Doll culture. She notes that baby dolls are not defined by age or gender--men and women, children and elders, all have a place in the masking tradition, a tradition she hopes will live on through the next generation.
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.
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.
Hannah Durkin
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780252042621
- eISBN:
- 9780252051463
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042621.003.0006
- Subject:
- Music, Dance
This chapter examines Dunham’s interventions in World War II-era U.S. cinema. Focusing on three of Dunham’s Hollywood films, Carnival of Rhythm (1941), Star Spangled Rhythm (1942), and Stormy Weather ...
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This chapter examines Dunham’s interventions in World War II-era U.S. cinema. Focusing on three of Dunham’s Hollywood films, Carnival of Rhythm (1941), Star Spangled Rhythm (1942), and Stormy Weather (1943), the chapter recovers Dunham’s groundbreaking contribution as a Black woman choreographer to midcentury U.S. cinema. Establishing that Dunham was the first Black choreographer to gain onscreen credit for her work in Hollywood, it shows how her performances represented a negotiation of studio-era racial codes but also how she mediated such codes and was able to assert her authorship by presenting a vision of Black dancing womanhood in Hollywood that was pioneering its open engagement with sensuality, cultural diversity, and choreographic allusions to ballet and modern dance.Less
This chapter examines Dunham’s interventions in World War II-era U.S. cinema. Focusing on three of Dunham’s Hollywood films, Carnival of Rhythm (1941), Star Spangled Rhythm (1942), and Stormy Weather (1943), the chapter recovers Dunham’s groundbreaking contribution as a Black woman choreographer to midcentury U.S. cinema. Establishing that Dunham was the first Black choreographer to gain onscreen credit for her work in Hollywood, it shows how her performances represented a negotiation of studio-era racial codes but also how she mediated such codes and was able to assert her authorship by presenting a vision of Black dancing womanhood in Hollywood that was pioneering its open engagement with sensuality, cultural diversity, and choreographic allusions to ballet and modern dance.
Valeria De Lucca
- Published in print:
- 2020
- Published Online:
- July 2020
- ISBN:
- 9780190631130
- eISBN:
- 9780190631161
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190631130.003.0005
- Subject:
- Music, Opera, History, Western
In this chapter I consider Maria Mancini’s patronage of music and musicians and her organization and participation in carnival entertainments such as allegorical floats and parades. Maria Mancini had ...
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In this chapter I consider Maria Mancini’s patronage of music and musicians and her organization and participation in carnival entertainments such as allegorical floats and parades. Maria Mancini had spent several years in France before moving to Rome and her patronage in Rome shows on one hand her taste for public entertainment and on the other her desire, through patronage, to rebel against the oppressive patriarchal society of Rome and respond to the critics who thought she enjoyed too much freedom. This chapter also marks the end of Maria’s stay in Rome. In 1672, after many months of declining health and fears for her life, Maria Mancini decided to escape from Rome, an oppressive relationship with her husband, and a society that never seemed to have accepted her.Less
In this chapter I consider Maria Mancini’s patronage of music and musicians and her organization and participation in carnival entertainments such as allegorical floats and parades. Maria Mancini had spent several years in France before moving to Rome and her patronage in Rome shows on one hand her taste for public entertainment and on the other her desire, through patronage, to rebel against the oppressive patriarchal society of Rome and respond to the critics who thought she enjoyed too much freedom. This chapter also marks the end of Maria’s stay in Rome. In 1672, after many months of declining health and fears for her life, Maria Mancini decided to escape from Rome, an oppressive relationship with her husband, and a society that never seemed to have accepted her.
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.
Leszek Koczanowicz
- Published in print:
- 2015
- Published Online:
- May 2020
- ISBN:
- 9780748644056
- eISBN:
- 9781474408691
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748644056.003.0003
- Subject:
- Political Science, Democratization
This chapter is devoted to Bakhtin’s concepts of dialogue and carnival and their use in political theory. The notion of language as developed by Bakhtin is analyzed in detail, whereby special ...
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This chapter is devoted to Bakhtin’s concepts of dialogue and carnival and their use in political theory. The notion of language as developed by Bakhtin is analyzed in detail, whereby special attention is given to his idea of language as a system of utterances. These explorations serve to advance the idea of non-consensual dialogue. In this perspective, dialogue is a vehicle of reflexive understanding that is an assimilation of someone else’s ideas into one’s own conceptual system. This concept of dialogue is presented as an alternative to the Habermasian notion of dialogue and to the concept of hegemony as developed by Ernesto Lacalu and Chantal Mouffe. In the second part of the chapter, the concept of carnival is discussed. In Bakhtin, carnival is not just a particular festivity, but an existential feature of human nature which enables people to form intimate bonds outside any institutional circumstances. On this model, carnival can be treated as a liminal example of democracy insofar as democracy needs constant change and re-construction of its institutions and habits.Less
This chapter is devoted to Bakhtin’s concepts of dialogue and carnival and their use in political theory. The notion of language as developed by Bakhtin is analyzed in detail, whereby special attention is given to his idea of language as a system of utterances. These explorations serve to advance the idea of non-consensual dialogue. In this perspective, dialogue is a vehicle of reflexive understanding that is an assimilation of someone else’s ideas into one’s own conceptual system. This concept of dialogue is presented as an alternative to the Habermasian notion of dialogue and to the concept of hegemony as developed by Ernesto Lacalu and Chantal Mouffe. In the second part of the chapter, the concept of carnival is discussed. In Bakhtin, carnival is not just a particular festivity, but an existential feature of human nature which enables people to form intimate bonds outside any institutional circumstances. On this model, carnival can be treated as a liminal example of democracy insofar as democracy needs constant change and re-construction of its institutions and habits.
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.
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.
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.
Ray Allen
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780190656843
- eISBN:
- 9780190656881
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190656843.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Jump Up! Caribbean Carnival Music in New York City is the first comprehensive history of Trinidadian calypso and steelband music in the diaspora. Carnival, transplanted from Trinidad to Harlem in the ...
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Jump Up! Caribbean Carnival Music in New York City is the first comprehensive history of Trinidadian calypso and steelband music in the diaspora. Carnival, transplanted from Trinidad to Harlem in the 1930s and to Brooklyn in the late 1960s, provides the cultural context for the study. Blending urban studies, oral history, archival research, and ethnography, Jump Up! examines how members of New York’s diverse Anglophile-Caribbean communities forged transnational identities through the self-conscious embrace, transformation, and hybridization of select Carnival music styles and performances. The work fills a significant void in our understanding of how Caribbean Carnival music—specifically calypso, soca (soul/calypso), and steelband—evolved in the second half of the twentieth century as it flowed between its island homeland and its burgeoning New York migrant community. Jump Up! addresses the issues of music, migration, and identity head on, exploring for the first time the complex cycling of musical practices and the back-and-forth movement of singers, musicians, arrangers, producers, and cultural entrepreneurs between New York’s diasporic communities and the Caribbean.Less
Jump Up! Caribbean Carnival Music in New York City is the first comprehensive history of Trinidadian calypso and steelband music in the diaspora. Carnival, transplanted from Trinidad to Harlem in the 1930s and to Brooklyn in the late 1960s, provides the cultural context for the study. Blending urban studies, oral history, archival research, and ethnography, Jump Up! examines how members of New York’s diverse Anglophile-Caribbean communities forged transnational identities through the self-conscious embrace, transformation, and hybridization of select Carnival music styles and performances. The work fills a significant void in our understanding of how Caribbean Carnival music—specifically calypso, soca (soul/calypso), and steelband—evolved in the second half of the twentieth century as it flowed between its island homeland and its burgeoning New York migrant community. Jump Up! addresses the issues of music, migration, and identity head on, exploring for the first time the complex cycling of musical practices and the back-and-forth movement of singers, musicians, arrangers, producers, and cultural entrepreneurs between New York’s diasporic communities and the Caribbean.
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.
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.
