The Traditional Masques of Carnival

Crowley, Daniel J.

doi:10.1080/00086495.1956.11829671

Cited by 29 publications

(18 citation statements)

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“…2. For more information on the history and nature of these traditional masquerades see Alonso (1990), Bellour and Kinser (1998), Brereton (1981), Crowley (1956), Franco (1998), Harris (1998), Hill (1972, 1985, Honore (1998), Liverpool (1998), Pearse (1956), Walsh (1998), Wüst (1990). 3.…”

Section: Conclusion: Rethinking Tourism As Cultural Productionmentioning

confidence: 98%

“Come to Life”: Authenticity, Value, and the Carnival as Cultural Commodity in Trinidad and Tobago

Green

2007

Identities

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This essay explores the tension between processes of cultural commodification and processes of authentication in the marketing of the Trinidad Carnival. The Trinidad and Tobago Industrial Development Company, the National Carnival Commission, and the University of the West Indies have worked with the travel business in Trinidad and Tobago and abroad to appeal to both "cultural tourism" and "sun, sea, sand, and sex tourism" markets while maintaining what they see as Trinidad's cultural uniqueness. The presentation demonstrates the tense, sometimes contradictory, sometimes complementary relationship between competing desires for cultural integrity and economic autonomy. This essay explores how concepts of authenticity, processes of cultural objectification, and international marketing are intertwined in the name of economic and cultural nationalism.This essay explores how the process of authentication as part of a broader movement of cultural nationalism and the process of cultural commodification as part of the development of a cultural tourism industry necessitate the objectification of cultural forms and practices. My particular focus is on the effects of this objectification on the Carnival of Trinidad and Tobago. My analysis comprises three key elements. First, authenticity enhances the economic value of the cultural commodity. Second, cultural brokers commodify cultural products and practices that they believe possess greater cultural authenticity. Third, the commodification process requires the objectification of the cultural processes through which cultural objects are made and practices undertaken. The objectification of cultural forms and practices leads to the condemnation of innovation and the stifling of cultural creativity in the name of a well-intentioned yet misplaced cultural nationalism. Cultural nationalists, in seeking to solidify national culture, authenticate some forms over others. These authenticated

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Section: Conclusion: Rethinking Tourism As Cultural Productionmentioning

confidence: 98%

“Come to Life”: Authenticity, Value, and the Carnival as Cultural Commodity in Trinidad and Tobago

Green

2007

Identities

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“…It has always been political, and attempts to put down forms of masking in San Fernando are noted as early as 1859 (Cowley 1996). 'Indian mas' was observed as early as the 1840s (Crowley 1956, pp. 205 -213, Cowley 1996.…”

Section: Carnival Indian Mas and Authority In Trinidadmentioning

confidence: 99%

Transnational spirituality, invented ethnicity and performances of citizenship in Trinidad

Hosein

2012

Citizenship Studies

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“…2, first appeared in carnival in 1895, and like many those formerly enslaved in Trinidad and Tobago, its origin has been traced to West Africa [Nicholls 1999;Crowley 1956c;Martin 1998;Hill 1985]. It is performed on stilts 10-15 feet high, and represents "the spirit of Moko, the Orisha (god) of fate and retribution who emphasizes that even [though] he [has] endured centuries of brutal treatment he remains tall, tall, tall [Martin 1998].…”

Section: The Moko Jumbiementioning

confidence: 99%

“…3, first appeared in the carnival in 1899 [Hill 1985], and is said to have been invented after a rabies scare on the island in the 1930s ["Callaloo by Minshall" 1986]. The costume is traditionally "fabricated from wire and bamboo to a wingspread of 12 to 15 feet" [Crowley 1956c]. Performers wear a black or brown skintight suit with wings attached to the feet and shoulders [Crowley 1956b;Hill 1985].…”

Section: The Batmentioning

confidence: 99%

“…Our work began with analyzing existing literature, sketches, drawings, videos, films, and photographs that describe and feature the four STiCKs chosen. Developing a proper understanding of these artifacts involved researching their history, creation and development; their meaning; their movement and Fourth, not only are these artifacts susceptible to physical decay and destruction [Karadag 2014;Chen et al 2005], but as time evolves some of them may disappear from the carnival [Hill 1985;Crowley 1956c]. Finally, archiving and displaying STiCKs serve educational and research purposes about history, design, visual, and performing arts associated with the carnival.…”

Section: Introductionmentioning

confidence: 99%

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New Technologies in the Preservation of Cultural Artifacts with Spatial, Temporal, Corporeal, Kinetic Dimensions: Artifacts in the Trinidad Carnival

Noel¹

2017

SDH

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Historic cultural artifacts with spatial, temporal, corporeal, and kinetic dimensions (STiCK) are large threedimensional sculptures or structures that are performed by the body, occupy large amounts of physical space, and exist in their best physical form for a short period of time. They usually require a lot of space for storage, performance, and exhibition; are best understood in three-dimensions; are susceptible to decay and damage; and are not properly understood if displayed independent of the body. Using four traditional STiCK artifacts in the Trinidad Carnival as a case study, we illustrate how these artifacts can be displayed and interacted with using parametric computer-aided design, augmented reality, and embodied computer interaction. This work has potential implications for design, heritage, the Trinidad Carnival, and for historians, researchers, designers, and computer scientists.

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The Traditional Masques of Carnival

Cited by 29 publications

References 0 publications

“Come to Life”: Authenticity, Value, and the Carnival as Cultural Commodity in Trinidad and Tobago

“Come to Life”: Authenticity, Value, and the Carnival as Cultural Commodity in Trinidad and Tobago

Transnational spirituality, invented ethnicity and performances of citizenship in Trinidad

New Technologies in the Preservation of Cultural Artifacts with Spatial, Temporal, Corporeal, Kinetic Dimensions: Artifacts in the Trinidad Carnival

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