Carnival Research Papers - Academia.edu (original) (raw)

Carnival versus Thélème: The Question of ‘Freedom’ ---------------------------------------------------------------------------------- The best vantage point for understanding ‘transgressive sacrality’ as a universal phenomenon is the... more

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- Christianity, Hinduism, French Literature, Bakhtin
- by Chih-Yun Hsieh
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- Business, Cruise Tourism, Strategic Management, Business Management
- by Tomasz Rowiński
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- Liturgy, Ritual, Carnival, Antrophology
- by Cécile Richard
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- Psychology, Anthropology, Art, Modern Art
- by Kepa Fernandez de Larrinoa
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- Performing Arts, Basque Studies, Folk Theatre, Carnival

Scholars from fourteen countries presented their work at the sixth symposium of the ICTM Study Group on Music and Dance in Southeastern Europe that took place in the town of Sinj in Croatia in April 2018. This publication presents a full record of that Study Group’s biennial symposium. Twelve presenters did not submit their articles; their participation in the event is recognised by the inclusion of their original abstracts. Two panels are documented by three articles and one abstract, while the remaining abstracts are grouped at the end of this volume. Editors are Liz Mellish, Nick Green and Tvrtko Zebec.

- by Liz Mellish and +1
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- Music, Anthropology Of Dance, Sustainable Development, Migration

Women’s carnivals is the first national study of women’s rituals in Poland celebrated at the end of the carnival period. Ethnographic studies that documented contemporary rites were recorded on film. Moreover, we attempted to reconstruct the old forms of the rituals by studying archival materials: recorded interviews, press cuttings, photos, legal
acts and 19th century ethnographers’ accounts.
We visited eight places where we observed carnival celebrations, talked with the participants and looked through their private archives.
A publication with an accompanying DVD tries to present a wide range approach to women’s carnivals and attempts to apply anthropological interpretation to them.

Taking the example of the Basel carnival Fasnacht, the paper shows in what way ritual can maintain the impression of being traditional and unchan-ging, and yet be open to changes and innovations. As the basic conceptual framework we use the notion of liminality, which Victor Turner identified as the creative moment of ritual. In Fasnacht, this liminal dimension appears in two degrees. The carnival as such represents a reflexive liminal counterpart to the standard social structure, yet it is itself also highly structured and bound by conservative traditional rules. As a reaction to this, there arises within Fasnacht a second-order liminality in the form of the so-called wild Fasnacht, which turns the official anti-structural Fasnacht rules upside down once again, testing their validity. While the carnival structure offers a regulated opportunity for questioning everyday social behaviour, wild Fasnacht questions even this regulated manner of questioning as such, opening space for its reflection and modification. We use detailed examples to demonstrate how the subtle dialectics of structure and antistructure keeps the tradition of Basel's Fasnacht alive and allows it to evolve without destroying its aura of traditionality.

- by Olga Věra Cieslarová
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- Ritual Theory, Victor Turner, Carnival, Basel

In un mondo perennemente in festa, dove tutto (o quasi) è maschera, turismo e divertimento, che significato possono avere feste e Carnevali? O, al contrario, perché il linguaggio del Carnevale, con le sue maschere e i suoi eccessi, appare... more

- by Marxiano Melotti
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- Cultural Studies, Anthropology, Anthropology of Tourism, Cultural Sociology
- by Kenneth Bilby
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- Festivals and music, African Diaspora Studies, Caribbean Studies, Carnival

Algorithmic Tectonics is a course on creative computing in architecture and design. By learning to create computational design artifacts (such as experimental software, responsive objects and robotic fabrication applications) participants explore computation as a territory for speculative, critical and poetic thinking about design (rather than merely as an instrument of production or representation). Departing from the conventional approach of programming courses based on lectures and problem-sets, the course introduces each topic in a project-oriented fashion through design questions. Organized in three modules, design, visualize and make, the class prompts students to develop an appreciation for current developments in computational design, and to create their own projects with an incremental degree of sophistication: from simple interactive computer graphics to architectural robotics applications. This book reports on the course as taught for the first time at Penn State in the Spring of 2015. It is not a conclusive work but rather snapshots of an ongoing process. Together, the assignments, projects, and their descriptions, reflect a fledgling imaginary of design that continues to evolve around software and other technological infrastruc-tures. In combination with the online code repositories and blogs that accompanied the course, this book may be useful for others confronting questions about pedagogies of computing in design.

- by Vernelle A . A . Noel and +3
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- Robotics, Design, Design Computation (Architecture), Digital Fabrication
- by Reggina Zervou and +1
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- Popular Culture, Carnival

Članak je fokusiran na pokladna događanja u Sloveniji vezana uz karnevalske likove, zvane kurenti ili koranti, te bajoslovna ili mitska bića Kurente iz pedesetih godina prošloga stoljeća. Analizira raznolike uporabe izraza kurentovanje, koje proizlaze iz povezanosti s tim likovima i koje su se od 1960. godine, ptujskim kurentovanjem, danas “najpopularnijom i najmasovnijom kulturnom i folklornom priredbom u Sloveniji i srednjoj Europi”, počele sve više i više gubiti. U prvim godinama nakon Drugoga svjetskog rata kurentovanje je, kako je ustvrdio Gačnik, moglo označavati ne samo cijelu praksu seoskog karnevala već je to bio i izraz koji se često koristio za opisivanje odgovarajućih društvenih oblika gradskog pokladnog događanja. Zbog česte, raznolike i izmijenjene uporabe izraza korant, kurent i Kurent i ostalih izraza koji iz njih nastaju, autorica smatra da o kurentomaniji kao načinu nacionalizacije pokladne kulture možemo govoriti već (barem) od pedesetih godina prošloga stoljeća. Nakon 1960. godine, kada se u Ptuju pojavio pokladni karneval pod imenom Kurentovanje, višeznačnica je postala jednoznačnicom. U uporabi nacionaliziranog pojma za pokladni karneval, koji je redefinirao ponajprije lokalne prakse, prepoznaje se prisvajanje, a s druge strane dodatno homogeniziranje pokladne kulture u Sloveniji. Naime, ako je ptujsko kurentovanje s jedne strane pokušalo revitalizirati nestajuću pokladnu praksu, s druge je strane, makar što se tiče imena, sva druga i drukčija dotadašnja kurentovanja potisnulo u pozadinu.

- by Mateja Habinc
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- Socialisms, Festivals, Carnival, Slovenia

"El Carnaval de Cádiz. De las coplas a la industria cultural" pretende arrojar luz a un proceso que está transformando el carnaval gaditano: la industrialización cultural de las coplas. Una realidad que está permitiendo a autores y agrupaciones competir, con procesos propios de creación, producción y comercialización, en un mercado cultural dominado por el consumo digital.
Si bien no se trata de una circunstancia excepcional en la tecnologización de la cultura, al menos permite inferir un cambio de paradigma que aspira a convertir el Carnaval de Cádiz en un fenómeno global.
Este libro, por tanto, es consecuencia de un mayor interés en el afán investigador por completar la huella dactilar del carnaval gaditano desde muy distintos prismas: su dimensión literaria y escénica, la musical, la comunicacional o la pedagógica; sin olvidar la legítima visión comercial que, ante un incremento en la demanda de contenidos carnavalescos, se prepara para una etapa dorada.

- by Francisco J. García Gallardo and +2
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- History, Cultural History, Cultural Studies, Music

Parallel Wiring: Brazil and the invention of the solid body electric guitar The sound of the Trio Elétrico is the sound of carnaval in the northeastern Brazilian state of Bahia. In 1950 two local musicians, Dodô Nascimento and Osmar Macêdo, paraded during Salvador's Carnival performing in a 1929 Ford equipped with two speakers. These speakers were amplifying their unique electric instruments; a solid body electric guitar trio of cavaquinho (the Brazilian soprano guitar), violão (the six-string guitar) and triolim (tenor guitar). This was the very first Trio Elétrico to perform in Bahia and from that moment Trio Elétricos and the guitarra baiana became synonymous with carnaval in Salvador and Brazil. During the 1930s and 40s when the electric guitar was being developed in North America, the electric guitarra baiana appeared independently in Salvador, Bahia. This curious coincidence has inspired claims that the solid-body electric guitar may have been invented in Brazil. The invention of the electric guitar in the 20 th Century had an enormous impact on the practise, popularity and commercialisation of music. The relationship between the guitar and the listening public was forever altered with the introduction of electromagnetic pickups, amplification and the solid body electric guitar. The creation and development of the electric guitar and its related electronics reflected the changing times, both artistically and culturally (Brosnac 1975).The evolution of the guitar into an electronic instrument was inevitable, increased volume becoming a musical necessity with the expansion in the size of bands in the 1930's. Without going into advanced electronics and engineering, it is fair to say that the pickup is the essential element in any electric guitar. The magnetic field created by the pickup transforms the vibration of the string into an electronic signal that can then be amplified (Tolinski and Di Perna, 2016). Traditional acoustic guitar building focuses on the soundboard as the source of tone production, and the early electric guitar experiments focused on attempts to amplify the vibrations of the guitar's soundboard. However, it was George Beauchamp that realised the string is the best source of vibration (Tolinski and Di Perna, 2016). In 1930-31 Beauchamp had mounted his early pickup experiments on a piece of two-by-four inch timbre using just a single string as the source of vibration, with his design proving to be successful he went about building a full-sized guitar prototype. Tolinski and Di Perna (2016) suggest that while others had tried this kind of thing, it appears only Beauchamp followed through his experiment to its logical conclusion. Beauchamp enlisted the help of his friends, Aldoph Rickenbaker, Harry Watson and Paul Berth to design and build a full-size electric guitar. Together the four men created the Ro-Pat-In company. The initial design they came up with was the 'Frying pan' also called the 'Panhandle' and 'Pancake'. These descriptive names appear apt as the instrument's long neck and small circular body shape resembled a frying pan. The original prototype was made from wood; however, the production models were made from aluminium, a result of the Ro-Pat-In legacy of having worked in The National String Instrument Corporation making cast-iron Dobro instruments. (Tolinski and Di Perna, 2016). The instrument was primarily designed for playing Hawaiian-style, that is horizontally on the lap, although it could be also played using a traditional posture, at the time referred to as Spanish Style. In 1932 the A-25 production model, 25 referring to the scale length in inches, was launched followed by the A-22 which went on to outsell the 25-inch model. The guitar was branded Ro-Pat-In, then Rickenbahcer and ultimately Rickenbacker Electro. The market in the early 1930's was essentially professional players. (Tolinski and Di Perna, 2016).

- by Adam May
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- Musicology, Ethnomusicology, Popular Culture, Brazil
- by Jéssica Lins de Souza Fernandes
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- Mathematics Education, Ethnomathematics, Carnival

Wydrukowaną w 1637 komedię "Z chłopa król" należy powiązać ze zjawiskiem karnawału i w kontekście mięsopustu interpretować jej przesłanie. Dydaktyce chrześcijańskiej podporządkowano mityczne, osadzone w schemacie trzech funkcji indoeuropejskich (w ujęciu Georgesa Dumézila) przejście bohatera trzeciej funkcji w boga-bohatera funkcji pierwszej za sprawą aktu objęcia władzy przez 'oracza'. W sztuce wyrażającej ideologię chrześcijańską swoich czasów są zawarte pokłady pogańskie czy indoeuropejskie.

- by Witold Wojtowicz
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- Philology, Comedy, Georges Dumezil, Old Polish literature
- by Ruth Kara-Ivanov Kaniel
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- Gender Studies, Sexuality, Kabbalah, Victor Turner
- by Francisco J. García Gallardo
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- Music, Musicology, Carnival

On August 14, 1985, during the armed conflict between the Communist Party of Peru, known as Shining Path, and the Peruvian state, an army patrol entered the town of Accomarca, in the Andean region of Ayacucho, and assassinated 69... more

- by Renzo Aroni
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- Political Violence and Terrorism, Performance, Memory Studies, Quechua

Este artículo es uno de los resultados del proyecto de investigación: Recreación/Fiesta y Educación: Un estudio del Carnaval de Riosucio como experiencia recreativa y organizativa. Su propósito se centra en entender el papel pedagógico y el sentido de la construcción social del diablo como personaje icónico en el Carnaval de Riosucio, Caldas. Para ello, se hace una revisión histórica del papel del diablo en las festividades latinoamericanas. Se analizan las formas organizativas y festivas que devienen de la actuación del diablo riosuceño. Y concluye con la descripción de las efigies de los
diablos participantes en el Carnaval de Riosucio 2013.

- by Nathalia Cárdenas Flórez
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- Colombia, Carnival, CARNAVAL, Diablo
- by Daniel Melo
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- Popular Culture, Mass culture, Citizenship, Cultura Popular

Volgens activisten komt Zwarte Piet voort uit de racistische Amerikaanse blackface-traditie. Maar zijn wortels zijn veel ouder: door heel Europa heeft Sint-Nicolaas zwart geschminkte knechten, die wellicht teruggaan op een prehistorische sjamanistische traditie. Een verhandeling aan de vooravond van het Sinterklaasfeest. door Arnold-Jan Scheer Bekentenissen van een Zwarte Piet HP/DE TIJD 11/2020 3 2 ZWARTE PIET 11/2020

- by Arnold Scheer
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- European History, Anthropology, Folklore, Indigenous Studies

A review and comparison of four Calypso Tents during Trinidad & Tobago Carnival 2014: three traditional Calypso tents: Kaiso House, Kaiso Karavan, The Kalypso Revue, and a new venture based on the concept of a calypso tent re-imagined as a Las Vegas-style show, “Live at the Hyatt”. I also looked at the experiences of four calypsonians during the Carnival 2014 period: Winston Henry “The Explainer” of Kaiso House, Kurt Allen of Kaiso Karavan, David Rudder and Destra Garcia of “Live at the Hyatt”.

- by Martin Raymond
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- Performing Arts, Music Technology, Popular Music, Caribbean Studies
- by Wojciech Dudzik
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- Carnival

This article argues that a Russian analytical paradigm of carnival culture can help explain the successful presidential campaign of President Donald J. Trump. Russian philosopher and literary critic Mikhail Bakhtin developed the notion of carnival culture while analyzing Francois Rabelais' work and its connection to the popular culture of Renaissance. Carnival ethos stood in opposition to the 'official' and 'serious' church sanctioned and feudal culture, by bringing out folklore and different forms of folk laughter that Bakhtin denoted as carnival. Carnival culture with its opposition to the official buttoned-up discourse is supposed to be polar opposite, distinguished by anti-ideology and anti-authority, in other words, anti-establishment – the foundation of Trump's appeal to his voters. This article examines the core characteristics of carnival culture that defined Trump's presidential campaign from the start.

- by Lisa Gaufman
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- American Studies, Media Studies, Presidency (American Politics), Literature

This book presents the Zoque Carnival of Ocozocoautla, Chiapas, which is an annual celebration that affirms life, community ties, and the relationship with nature that is typical of the zoque native Indians of Southern Mexico. The text is written in Spanish and zoque.
Este muestra fotográfica retrata mediante fotos cuidadosamente seleccionadas y una introducción descriptiva bilinguë (zoque y español), el carnaval zoque de Ocozocuautla de Espinosa, Chiapas.

- by Gillian E Newell
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- Indigenous Studies, Biocultural Diversity, Mexico, Chiapas

Both Franz Kafka and Gabriel Garcia Marquez use elements of the magical realism genre in their writing to make the extraordinary appear fantastic against the dull light of the mundane. While Gabriel Garcia Marquez's short story A Very Old Man with Enormous Wings is a narrative that is focalized around an angelic-like creature of sub-natural and sensational characteristics, Franz Kafka's A Hunger Artist is also a story which uses magical realism and supernatural imagery in order to invoke a contract between that which is sublime and spiritual with the everyday, or mundane. The setting of each narrative emphasizes the existence of the supernatural both through the literal presence of the fantastic which translates to a commodified spectacle, which contrasts the mundane. It is existential dread and the pathos associated with continual fasting that plague the hunger artist. Marquez's short story uses Christian imagery along with suffering to distinguish the angel who appears in his short story, as being a character who also exudes witnessed suffering that can be identified by the reader as pathos. It is the presence both fantastic characters which reinforce and acknowledge the mortality of the characters who become focalized onlookers within both narratives. Both spectacle along with the carnivalesque make the work of Kafka's centralized hunger artist character and Marquez's focalized angel both forms of spiritual entertainment to actively viewing groups of onlookers. It is through their pathos that both writers utilize the theatre of alienation, and magical realism creating literal embodiments of spirituality which do not translate an alikeness to their audience, but which rather manifest an alienating pathos of spectacle encouraging not discourse and thought about art, but rather about spirituality. The hunger artist is introduced to the reader as a professional of the task of not eating. As he remains caged and watched by groups of people whose " excitement mounted " (Kafka 268). Both casual onlookers and " … relays of permanent watchers selected by the public " watch the hunger artist all of the time (Kafka 268). Life for the hunger artist remains mundane as his Chetcuti,

- by Mark Chetcuti
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- Franz Kafka, Sensationalism, Carnival, Gabriel García Márquez

The intent of this research paper is to trace the antiquity and significance of the rudiments of traditional masquerades still practiced in Sardinia, Bulgaria and other Balkan or Alpine countries through matrilineal ritual symbols from Neolithic Old Europe interlaced with Dionysian Bronze Age rituals based upon Thracian myths. Additionally, this research is to query accepted beliefs that Carnival origins only began with medieval Christmas, Lenten and Easter holidays, or are merely processions reflecting current popular culture. In this paper, the symbols of suppressed spiritual consciousness embedded mnemonically in the masks and gear of all-male Bulgarian Kukeri Festivals and Sardinian Carnivales participants, are presented as evolving from Neolithic times in Old Europe, then extending to Sardinia with migrations, and later, through extensive obsidian trade routes, myths and rituals carried between Sardinia-Corsica, Old Europe and the Mediterranean-at-large.

Events can be differentiated into many types based on the category, size and domain such as public events which has a big number of audience and participants or private events which revolve around the primary interest of individuals, small or miniature private groups. Such types of event can be considered as mega events which are organized in a large scale and can cater a huge cluster of people gathered in a single place. Carnivals are fall under the category of cultural celebrations. Although there are many carnivals celebrated in different locations of the globe, including different locations in Brazil as well as many other catholic countries but Rio de Janeiro’s carnival is extremely popular all over the globe due to its gargantuan size and flamboyant performances. In this report, we will discuss the complexities involved in organizing Rio de Janeiro’s Carnival in 2014, its SWOT analysis, risk management and services available in the carnival.

On January 6, 2021 an overwhelmingly White Christian mob stormed the U.S. Capitol building in Washington D.C. as part of a rally to “Save America.” Moving beyond media reports and analyses of popular pundits, we provide an ethnographic outline of some of the complexities and contradictions on display that day. Thinking with Hannah Arendt, Emmanuel Ladurie, Ursula LeGuin and others, these notes frame the rally preceding the attack on the Capitol in terms of historical narrative, carnival aesthetics, and Christian symbolisms of salvation. The rally and attempted insurrection displayed multiple social and symbolic inversions, combining yearnings for order and stability with parody, playful optimism, and violent threat. Unlike many other pre-Lenten carnivals, here it was never entirely clear which social order was being overturned and which was being reinstated, one result of the deeply divided worldviews that currently characterize much of the U.S. population.

- by Gregory Starrett
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- Social and Cultural Anthropology, Fascism, Trickster, Right-Wing Extremism
- by Claire Tancons
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- Psychoanalysis, Slavoj Žižek, Second Life, Parkour

Trinidad and Tobago has a diverse and unique history, which has led to a very specific take on the ancient celebration of the Carnival festival. The street parade that forms the core of the Trinidad and Tobago Carnival Festival is usually comprised of 2 disparate but ever present forms of costumed masquerade. Stephen Derek passion, talent and motivation for the mas has secured him a place among the carnival greats and has allowed him to expand his brand all over the world yet the desire for this type of mas seems to be dwindling in Trinidad and Tobago. TRIBE’s business model is service first with little attention paid to the traditional aspects of mas with the focus on the business and the amazing services and breakthroughs in technologies that the band is responsible for. Traditional vs Technology is a recurring theme in Trinidad and Tobago's Carnival and here I examine it through the lens of Mas.

- by Maarten Manmohan
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- Caribbean Studies, Research, Carnival, Masquerade
- by Renata Dalianoudi/ Ρενάτα Δαλιανούδη
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- Folklore, Epirus, Carnival, Popular Theatre

Rara is a vibrant annual street festival in Haiti, when followers of the Afro-Creole religion called Vodou march loudly into public space to take an active role in politics. Working deftly with highly original ethnographic material, Elizabeth McAlister shows how Rara bands harness the power of Vodou spirits and the recently dead to broadcast coded points of view with historical, gendered, and transnational dimensions.

- by Elizabeth A . McAlister
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- Haiti, Baptism, Black Religion, Festivals

Every year, in the days just prior to Catholic Ash Wednesday, the indigenous Zoque peoples of northwestern Chiapas, Mexico, celebrate “carnival.” In doing so, they affirm their ethnic identity, take pride in a native vision of the cosmos, and retrace their real and fictive modern and ancient family lineages. Zoque carnival is an “encounter,” or meké in
Zoque language, which entails more than the word at first glance would imply. Scholars, however, have analyzed carnivals, be they state-promoted or not, as inversions, nationalistic celebrations, or representations of local, regional, and national history. They
often argue that carnivals exist primarily to represent, celebrate, or be a logical result of cultural diversity. Why are the native Zoque carnivals of northwestern Chiapas different?
What are these Zoque carnivals? What do they represent to the Zoque people themselves and to non-Zoque people? Why are carnival studies from an “encountering” ethnographic standpoint interesting avenues to develop and pursue?

- by Gillian E Newell
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- Indigenous Studies, Biocultural Diversity, Mexico, Chiapas
- by Dragan Božič
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- Weapons, Celts, Carnival, Cemeteries

- by Joyce Dalsheim
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- Anthropology, Philosophy, Social and Cultural Anthropology, Fascism
- by Gillian E Newell
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- Cultural Patrimony, Mexico, Patrimonio Cultural, Chiapas

CARNAVALES INDÍGENAS DE LA MIXTECA

- by Jorge Hernández Díaz
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- International Relations, Indigenous Knowledge, Ritual Studies, Tradition