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
