What Does Carnival Represent In Trinidad
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Carnival Art, Culture and Politics
Drawing on rich insights from cultural, post-structural and postcolonial studies, this book demands that we rethink Carnival and the carnivalesque as not just celebratory moments or even as critical subtext, but also as insightful performatives of social life anywhere, given the entangled times and spaces of these performances. The authors review Carnival’s performative aspects not merely as a calendrical festival, but rather center attention on the relationship between carnival and everyday life, and on how people negotiate their social spaces and possibilities in the context of modern power. The book therefore seeks to highlight the knotted time-spaces of power and to demonstrate the dynamic interplay between state spaces and people’s spaces that are being weaved by carnival's interlocutors. It demonstrates how Carnival and the Carnivalesque become analytic optics through which the relations of power in the social and political life of subjects who seek to tacitically or strategically vary their given identities, can be productively engaged. This book was originally published as a special issue of Social Identities: Journal for the Study of Race, Nation and Culture.
Trinidad Carnival
Author: Garth L. Green
language: en
Publisher: Indiana University Press
Release Date: 2007-03-28
Like many Caribbean nations, Trinidad has felt the effects of globalization on its economy, politics, and expressive culture. Even Carnival, once a clandestine folk celebration, has been transformed into a major transnational festival. In Trinidad Carnival, Garth L. Green, Philip W. Scher, and an international group of scholars explore Carnival as a reflection of the nation and culture of Trinidad and Trinidadians worldwide. The nine essays cover topics such as women in Carnival, the politics and poetics of Carnival, Carnival and cultural memory, Carnival as a tourist enterprise, the steelband music of Carnival, Calypso music on the world stage, Carnival and rap, and Carnival as a global celebration. For readers interested in the history and current expression of Carnival, this volume offers a multidimensional and transnational view of Carnival as a representation of Trinidad and Caribbean culture everywhere. Contributors are Robin Balliger, Shannon Dudley, Pamela R. Franco, Patricia A. de Freitas, Ray Funk, Garth L. Green, Donald R. Hill, Lyndon Phillip, Victoria Razak, and Philip W. Scher.
Voices in the Creation of an Indigenous Trinidad and Tobago Theatre
This book explores how, from the mid-20th century, a new form of theatre emerged in Trinidad and Tobago as its playwrights came to mine the Afro-Creole Trinidadian folk milieu. This book focuses primarily on the period from the 1950s through to the contemporary moment, investigating how Trinidad’s theatrical practitioners developed methodologies that formulated an indigenous theatre. It examines how in its creation, it would distance itself from Western forms as the stage was decolonized, making way for a variety of new forms that mimetically reflect the reality of Trinidad’s Afro-Creole folk. This book establishes a premise on which the terms “folk” and “indigenous” have been shaped by Trinidad’s socio-historical past. It develops an argument that outlines how Trinidad’s African cultural retentions form a central basis on which a theatrical tradition was established. This book traces the historical impetus and driving forces that gave rise to a body of writers for whom the vitally important link between the production of drama and the search for identity in the immediacy of the post-colonial period is established. The book develops a structure that forms three lines of discrete research: folk expression, women, their portrayal and their emergence as theatrical practitioners, and theatrical developments through the decades. These subject areas are examined through the work of a broad body of playwrights. Exploring their theory and praxis, their work is described in terms that exhibit a variety of genres, with tropes that have become indelible resources for theatrical practitioners to draw from. With a theatrical base that extends from popular comedy to avant-garde spiritual works, the theatre is shown to represent a composite entity, one that accommodates a plurality of forms, which, in their summation, express the breadth and depth of Trinidad and Tobago’s theatrical journey, one that is still very much underway. Readers that have an interest in theatre, cultural, gender, post-colonial, or Caribbean studies will enjoy this book.