Reads Carnival-related performances in relationship to the colonial and national histories of the circulation of Indian and black women's bodies in Trinidad and Tobago, asking what is at stake in these occupations of genre, form, and performative presence in the latest global scenes of late capitalism (where image and sound, as cultural productions, are always in circulation beyond the scope of the nation, and their own "original" referents).
Wintersteen,Benjamin (Author) and Browne,Katherine E. (Author)
Format:
Book, Whole
Publication Date:
2010
Published:
Lewiston, NY: Edwin Mellen Press
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
136 p., Examines the religious, mythological and performance elements of the Afro-Caribbean street festival. Using the theories of performance, political economy and symbolic analysis, this work shows how elements of African, European and South American cultures interact to produce a unique understanding of the colonial and post-colonial experience.
The fifth annual Bermuda Jazz Festival took place on September 15-16, 2000, to a crowd estimated at 6,000. Some headliners included Roberta Flack, Norman Brown, Spyro Gyra, and Diana Krall. Many local Bermudans displayed their musical gifts as well
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
314 p, "Set in Trinidad, Manu's obsession to play "diable" in the carnival leads him into conflict with his wife, Samdaye, and sets into motion a chain of events that threatens to destroy the lives of his family and neighbors." (Publisher)
Focuses on the role of women and women's bodies in Trinidad Carnival. Information on the book 'Afro-Creole: Power, Opposition and Play in the Caribbean; Views on the Janus-faced effect of women's bodily performance; Collusion of global capitalism in the marketing and commodification of Caribbean popular culture.
"We have a magnificent group of veteran and talented young calypso and Soca artists. The orchestra, The Sunshine Band, is led by Don Diaz, son of the famed Cyril Diaz," explains Michelle Young, coordinator of the Festival & Tent. "Fans of every age and nationality will enjoy five tantalizing nights of strictly calypso and soca plus celebration of Trinidad & Tobago 51st independence birthday." "Come show love and support to our artists that live amongst us," says Yankey Boy who sang in the 2013 Trinbago Unified Calypsonian Organization (TUCO) Calypso Tent and in this year's Trinidad and Tobago (International) Soca Monarch.
"THE MIN NOW RMHN' UP... THI CROWD NOW WAK1N8 UP... THE ATMOSPHERE HAS VIRES AND... NOTHIN' CANT BREAK IT UP... WE READY FOR THE ROAD. In his seminal song for T&T carnival 20 1 3, Differentology, soca superstar Bun ji Garlin set the scene for the upcoming masquerade and Montreal Carifiesta: raisin' up... the "the sun now crowd now waking up... the atmosphere has vibes and... nothin' can't break it up... WE READY FOR THE ROAD. So it is for the multitude of revelers and spectators who are ready to enjoy Montreal's hypest, most colorful and bounciest street parade, Carifiesta, once the best this side of the Atlantic.
Discusses the popular notions of sexuality that lay behind the women's bodily displays during Trinidad Carnival, the iconic Carnival experience in the region, and contrasts these to some Christian notions of the body and sexuality, which see the body ('the flesh') and sexuality, as problematic even sinful.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
341 p., Examines the long-running debate between the proponents of Afro-Cuban cultural manifestations and the predominantly white Cuban intelligentsia who viewed these traditions as "backward" and counter to the interests of the young Republic. Includes analyses of the work of Felipe Pichardo Moya, Alejo Carpentier, Nicolás Guillén, Emilio Ballagas, José Zacarías Tallet, Felix B. Caignet, Marcelino Arozarena, and Alfonso Camín.
Washington DC's Caribbean Carnival, which is in its 11th year, takes more than 500,000 Caribbean people "back home" with its parade of life, color and unity. To the dismay of many attendees, the parade moved from its original home on Georgia Avenue to the downtown area, where the white, business-class atmosphere with its federal buildings made some feel as though their culture was an exhibit in an art museum.
Proposes that cricket symbolizes both an assertive sense of black culture and an awareness of black economic dependency on whites, a tension that is reflective of Bermudian politics
Focuses on black women's experiences of the annual African-Caribbean carnival in St. Paul's, Bristol, as a potential site of resistance. Looks at how black women challenge conceptions of space on three levels: nationally, locally and within the street. These three spatial levels are permeated by notions of resistance: resistance to dominant notions of Englishness, to representations of place, and to gender roles. Focuses on carnival's potential to contest hegemonic discourses, to denaturalise them and to expose them as partial.
Addresses the place of Carnival in the creation of a national cultural narrative in Trinidad and Tobago and examines the role that such a narrative plays in the formation of a coherent national cultural identity
This article compares the transformation of carnival celebrations in Buenos Aires, Argentina and Montevideo, Uruguay at the beginning of the 20th century. It argues that changes in carnival practices in the River Plate region was linked to the rise of a vacation culture in Montevideo. The article also assesses the historiography on Montevideo's carnival which has cast a negative light on the impact of modernization and the festival. In comparison to Buenos Aires', carnival in Montevideo was fomented by governmental regulation. Finally, the article examines the relationship between carnival and each of the city's African-descent populations.
The year is marked by religious rituals, religio-social fetes, dances, parades, seasonal games, and other activities based on the Catholic liturgical calendar
Argues that the Trinidad carnival and the overseas Caribbean carnivals (e.g. Notting Hill, London; Caribana, Toronto; Labour Day, New York) are products of and responses to the processes of globalization as well as transcultural and transnational formations. Carnival is theorized as a hybrid site for the ritual negotiation of cultural identity and practice by the Caribbean diaspora.
On Saturday, July 3, certain sections of downtown Montreal should have been teeming with the music and vibrations of the Caribbean on what was supposed to be the 35th or 36th staging (depending on who is counting) of the annual Carifiesta parade. Instead, not a drum will be heard and the soca, calypso, reggae and zouk rythmns that should have been fueling the fire in the tens of thousands of participants and spectators along Rene Levesques Blv'd. will be replaced by the usual humdrum of Saturday commerce on the thoroughfare. So when it's all said and done as the cliché goes... it's our fault that we'll not be palancing in downtown Montreal.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
240 p, Contents: Im/migration, Race, and Popular Memory in Caribbean Brooklyn and American Indian Minneapolis, 1945-1992 --; Im/Migration History --; Playing for Keeps: A Brief Colonial History of Carnival and Powwow --; Im/migration Policy, the National Romance, and the Poetics of World Domination, 1945-1965 --; Performing Memory, Inventing Tradition: Colonial Optics and Im/migrant Locations --; Performative Spaces, Urban Politics, and the Changing Meanings of Home in Brooklyn and Minneapolis --; Sounds of Brooklyn: Pan Yards as Im/migrant Social Spaces --; Gender and Generation Down the Red Road --; Afterword. Political Economies of Home: Citizenship and Denizenship
A brief overview of London's carnival and its beginnings in the late 1950s. Claudia Jones committed herself to both the culture and political underpinning of Caribbean carnival when she founded the event. London's West Indian community embraced carnival as an important source of celebration and cultural identity in the face of racist intimidation in Britain. The essay explores various difficulties that black British artists face gaining recognition, particularly those who work in carnival.
Friday night also doubled as a welcome party and was dubbed 'Inferno' for all the festival patrons to party to a few of Jamaica's finest entertainers. The night's DJs straight from the rock were DJ Marvin, Christuff from Renaissance, and Fame FM's DJ Nicco, who afforded patrons the opportunity to party the night away to the latest dance hits while mingling with a few of South Florida's socialites and movers and shakers. 'Dubbed the biggest Caribbean food festival in the United States, the Jamaican Jerk Festival has the reputation for delivering an experience of the highest quality to patrons'
Would this situation make good sense to the people of Montreal or to the Irish community? Should the City of Montreal now deal with this new organization, instead of the organization which has been mandated and accepted by the Irish community as having the legitimate right to hold the parade for many years? While one part of the debate is the legitimate right of either organization to hold the parade, the other sadder part of our parade dilemma is that there is one group that is made up mostly of older folks who knew what carnival was like 50 years ago, while the other group is made up of mostly young folks who understand what carnival is like now. In 2009 we were able to see Faye Ann Lyons, the offspring of our own Superblue, win the Soca Monarch, Groovy Soca Monarch, People's Choice Awards, and the Road March titles.
Examines how the Mocko Jumbie stilt-dancing masquerade evolved in the U.S. Virgin Islands. Contends that an upper Guinea coast provenance appears more likely than origins in southeastern Nigeria
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
284 p, Originalmente Dissertação, Mestrado, universidade do Estado do Rio do Janeiro (2001). Analisa a linguagem do samba-enredo na década de 1990, identificando as estratégias discursivas utilizadas pelos compositores do gênero. Inclui também, depoimentos históricos de personalidades do carnaval carioca.;
Plans to celebrate Haiti's 2004 bicentennial were discussed recently by Minister Leslie Voltaire at the Center for Constitutional Rights in Manhattan NY. He said plans were underway to have a large exhibition commemorating the international slave trade and a symposium of African writers in the diaspora.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
349 p, For many Trinidadians, Carnival is the quintessential expression of Trinidadian-ness. On one level, this thesis is an ethnographic "enactment" of one particular Carnival celebration in the circumscribed space and time of Port of Spain 1992. On another, this study explores the historical, systemic, political and hermeneutical linkages between Trinidad's "national" identity, its culture and its annual Carnival. Argues that Trinidad's Carnival is more properly understood, not as a rite of reversal, but as a performance which constitutes and expresses the Trinidadian Self.
223 p., This dissertation engages with radical Caribbean theater as a crucial literary archive that is nonetheless underexplored as an expression of political culture and thought. The theoretical grounding of the chapters emerges from the analytically generative thrust of a comment by C. L. R. James in The Black Jacobins: "to neglect the racial factor as merely incidental is an error only less grave than to make it fundamental." While the phrase asserts that race cannot be neglected, it also cautions against ensconcing race as fundamental analytical priority, suggesting a powerfully fluid conceptualization of radical political culture. Argues that radical theater projects in Jamaica and the Dominican Republic share this fluid conceptualization of radical politics with the Trinidadian James's own stage versions of the Haitian Revolution.
El artículo estudia el proceso histórico mediante el cual la música y la danza provenientes de África y Europa se mezclaron en los llamados "ritmos nacionales", configurando las identidades nacionales en América Latina. Este proceso implicó en cada país complejas negociaciones en asuntos de raza, etnicidad, género y clase social. A manera de ejemplo, el autor profundiza en el ritmo nacional conocido como el candombe uruguayo, pieza central del Carnaval anual de Montevideo desde mediados de 1800. [ABSTRACT FROM AUTHOR];
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
32 p, Contents: The Caribbean and its food -- People, food, and farming -- Caribbean religions -- Christmas and New Year's -- Carnival -- Food and harvest festivals
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
183 P., "Demonstrating how Latin American magical realism and Holocaust literature reflect and refract in literary form the carnivalesque spirit of
inversion, intensification of experience, and hallucinatory strangeness. Drawing on the works of Mikhail Bakhtin, Carl Jung, James Frazer, and others, Danow is able to suggest a striking and subtle connection between two genres that on the surface
would appear to have little in common." --Lynn Gelfand, Folklore Forum 29:1 (1998), p. 130.
Lovelace,Earl (Author) and New York (Series Editor)
Format:
Book, Whole
Publication Date:
1998
Published:
Persea Books
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
In Trinidad the martial arts dancer, Aldrick Prospect, fights the commercialization of the Mardi Gras carnival. Sick to see the country's traditions destroyed-- warrior contests have been replaced by games for tourists-- he joins a coup d'etat, serves a stint in jail and never dances again., 240 p
Provides information on the Tobago Heritage Festival in Tobago. Highlights of the event; Idea of the festival; Series of events showcased in the festival; Views of Rawle Titus, chairman of the Heritage Festival Committee, on the purpose of the celebration.;
The Los Angeles Caribbean Carnival, held in late Oct 2002, featured uninhibited dancing from scantily-clad women, entertainment from Calypso Rose and other Caribbean musicians and plenty of good food.
