DOCSLIB.ORG

"All That Glitters Is Not Junkanoo": the National Junkanoo Museum And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 "All That Glitters Is Not Junkanoo" the National Junkanoo Museum and the Politics of Tourism and Identity Ressa MacKey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE “ALL THAT GLITTERS IS NOT JUNKANOO” THE NATIONAL JUNKANOO MUSEUM AND THE POLITICS OF TOURISM AND IDENTITY By RESSA MACKEY A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded Fall Semester, 2009 The members of the committee approve the thesis of Ressa Mackey defended on August 18, 2009. __________________________________ Roald Nasgaard Professor Directing Thesis __________________________________ Karen Bearor Committee Member __________________________________ Michael Carrasco Committee Member Approved: _______________________________ Adam Jolles, Co-Chair, Department of Art History _______________________________ Sally McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above-named committee members. ii To Michael and Abigail iii ACKNOWLEDGMENTS First and foremost, I would like to thank the members of my committee, Roald Nasgaard, Karen Bearor, and Michael Carrasco, whose guidance and patience tremendously benefitted my project. I am also grateful for the opportunities afforded to me by the Penelope E. Mason Grant, which enabled me to witness the Junkanoo festival and interview several of the Junkanoo artists. My understanding of the festival was truly enriched by the testimonies provided by Stan Burnside, Angelique McKay, Mornette Curtis, Jackson Burnside, and Eddy Dames. Accomplishing my thesis would not have been possible without the help of my family and friends. I would like to thank my wonderful team of babysitters, notably Connie and Colleen Rawson and Arenthia Herren, who provided me with the free time I needed to complete my thesis. I am especially thankful to Deirdre Carter, whose assistance during the final stages of this project truly I appreciate. Finally, thank you Michael for all your love and support throughout this experience. iv TABLE OF CONTENTS List of Figures………………………………………………………………………………… vi Abstract……………………………………………………………………………………..... ix Chapter One: Introduction…………………………………………………………………… 1 Chapter Two: Junkanoo: From Slavery to Tourism………………………………………….. 11 Chapter Three: The National Junkanoo Museum…………………………………………….. 27 Chapter Four: The Institutionalization of Authenticity …………………………………….... 41 Chapter Five: Conclusion…………………………………………………………………….. 52 Appendix: Figures……………………………………………………………………………. 55 Bibliography………………………………………………………………………………….. 90 Biographical Sketch………………………………………………………………………….. 94 v LIST OF FIGURES 1. New Year‟s Day Junkanoo Parade. Saxon Superstars, costume theme: “I Have A Dream” in honor of black politicians. Off-the-Shoulder Dancers. 2009. Nassau, The Bahamas. Photo taken by author ………………………………………. 1 2. Lead Piece. Date Unknown. Nassau, The Bahamas. Ferguson, I Come to Get Me!: an Inside Look at the Junkanoo Festival ……………. 2 3. Exhibited Lead Piece at the Junkanoo Expo. 2001. Nassau, The Bahamas. Thompson, “Preserving While Destroying: The Junkanoo Expo.” ………….. 2, 34, 45 4. Discarded costumes after the New Year‟s Day Junkanoo Parade in 2009. Photo by author ………………………………………………………………….. 2, 24 5. Junkanoo groups performing in Washington, D.C. 1992. Ferguson, I Come to Get Me!: an Inside Look at the Junkanoo Festival ……………. 18 6. “Island Hopping” advertisement. The Island of the Bahamas advertisement campaign, Ministry of Tourism. 2004. Thompson, An Eye for the Tropics …………………………............................. 19 7. Da Junkanoo Shak Bahamian Restaurant & Bar. “Kalik Beer” advertisement, the official beer of the Bahamas. 2009. Nassau, The Bahamas. Photo by author ……………………………………………… 19 8. Five dollar bill featuring Junkanoo masqueraders. Bahamian currency. Released in 2007……………………………………………………………………… 19 9. “John Canoe? Man with Fancy Hat.” Nassau Magazine. 1935. Ferguson, I Come to Get Me!: an Inside Look at the Junkanoo Festival ……………. 20 10. Ship headdresses, paper-fringed costumes, and white masks. Exact date unknown. Nassau, The Bahamas. Originally published in Irade A. Reid, The John Canoe Festival, 1942. Ferguson, I Come to Get Me!: an Inside Look at the Junkanoo Festival ………….... 20 11. Paper-fringed costumes. 1957. Nassau, The Bahamas. Ferguson, I Come to Get Me!: an Inside Look at the Junkanoo Festival ……………. 20 12. New Year‟s Day Junkanoo Parade. The Valley Boys, costume theme: “Celebrating 50 Years of Junkanoo” in recognition of the Valley Boys 50th anniversary. Off-the-Shoulder Dancer. 2009. Nassau, The Bahamas. Photo by author ……………………………………………… 20 vi 13. Junkanoo masqueraders parodying English dress. Date unknown. Nassau, The Bahamas. Ferguson, I Come to Get Me!: an Inside Look at the Junkanoo Festival ……………. 21 14. Boxing Day Junkanoo Parade. The Roots, costume theme: “The NFL.” Off-the-Shoulder Dancer featuring the Rams football team. 2007. Nassau, The Bahamas. Photo by Sam Singh, obtained through Flickr, http://www.flickr.com/photos/singharoundtheworld/2183444944/ ……………….… 21 15. New Year‟s Day Junkanoo Parade. Saxon Superstars, costume theme: “I Have a Dream” in honor of black politicians. Off-the-Shoulder Dancer featuring Barack Obama. 2009. Nassau, The Bahamas. Photo by author ………………………………………………………………………. 21 16. New Year‟s Day Junkanoo Parade. One Family, costume theme: “Let it Snow.” Choreographed Dancer. 2009. Nassau, The Bahamas. Photo by author ………… 22, 24 17. New Year‟s Day Junkanoo Parade. Scrapper group. 2009. Nassau, The Bahamas. Photo by author ………………………………………………………………………. 23 18. New Year‟s Day Junkanoo Parade. Saxon Superstars, costume theme: “I Have a Dream” in honor of black politicians, sponsored by Shell Oil. Lead Piece. 2009. Nassau, The Bahamas. Photo by author ………………………………………… 23, 24 19. New Year‟s Day Junkanoo Parade. Banner for Scrapper group Bush Warriors, theme: “Hang „Em High Jail Not Bail,” in response to The Bahamas debated use of the death penalty. 2009. Photo by author …………………………………………………………………. 23, 45 20. New Year‟s Day Junkanoo Parade. Scrapper costume displaying the theme “Tips.” 2009. Nassau, The Bahamas. Photo by author ………………………………………………………………………. 24 21. New Year‟s Day Junkanoo Parade. One Family, costume theme: “Let it Snow.” Frame Dancer costumed as a snowmobile rider. 2009. Nassau, The Bahamas. Photo by author ………………………………………………………………………. 24 22. New Year‟s Day Junkanoo Parade. The Roots, costume theme: “The Wings of Nature.” Lead Piece. 2009. Nassau, The Bahamas. Photo by author ………………………….. 24 23. New Year‟s Day Junkanoo Parade. Scrapper banner recognizing sponsorship from SOBE Energy Drink. 2009. Nassau, The Bahamas. Photo by author ………………………………………. 24 vii 24. Discarded costumes after the Boxing Day parade. 1986. Nassau, The Bahamas. Nunley and Bettelheim, Caribbean Festival Arts …………... 24 25. Aluminum rods and cardboard frames for costumes. Ferguson, I Come to Get Me!: an Inside Look at the Junkanoo Festival ……………. 25 26. Junkanoo in June Parade. A grouper‟s banner. 2005. Nassau, The Bahamas. Photo by Erin Clark, obtained through Flickr, http://www.flickr.com/photos/clarkworks-46/336013572/ ……………………… 25, 49 27. Exterior of the Junkanoo Expo. 2001. Nassau, The Bahamas. Thompson, “Preserving While Destroying: The Junkanoo Expo” ……………… 28, 38 28. Exhibited Lead Piece at the Junkanoo Expo. 2001. Nassau, The Bahamas. Thompson, “Preserving While Destroying: The Junkanoo Expo” ……………… 34, 45 29. Festival Place market and welcome center. 2008. Nassau, The Bahamas. Photo by Andrew, obtained through Flickr, http://www.flickr.com/photos/8348059@N02/2640040049/ ……………………….. 35 30. Market stall inside Festival Place. 2009. Nassau, The Bahamas. Photo by author ………………………………………………………………………. 36 31. Interior of the National Junkanoo Museum, main exhibition space, still under construction. January 2009. Nassau, The Bahamas. Photo by author ……. 37 32. Future site of the Junkanoo restaurant, within the museum space. January 2009. Nassau, The Bahamas. Photo by author ……………………………… 37 33. “Sponge Men.” Exact date unknown. Nassau, The Bahamas. Originally published in Reid, The John Canoe Festival, 1942. Ferguson, I Come to Get Me!: an Inside Look at the Junkanoo Festival ……………. 46 34. New Year‟s Day Junkanoo Parade. The Valley Boys. Lead Piece resembling a float more than a costume. 2009. Nassau, The Bahamas. Photo by author ……………………………………………… 46 35. Off-the-shoulder costume displayed at Festival Place. 2009. Nassau, The Bahamas. Photo by author ……………………………………………… 49 viii ABSTRACT The annual Junkanoo festival in the Bahamas is regarded as “the ultimate national symbol,” representative of Bahamian sovereignty and culture. A festival that originated from Bahamian slaves, Junkanoo has evolved into a popular commercial and cultural event that features extravagant, crépe-paper costumes. This paper analyzes the role of the commodified Junkanoo costume in constructing a Bahamian national and cultural identity. Specifically, it analyzes the history and policies of the National Junkanoo Museum, the first institution to display the costumes outside their performative context. Through a interdisciplinary approach that incorporates methodologies from art history, sociology, and museum studies, I argue that Junkanoo
Recommended publications
  • CARNIVAL and OTHER SEASONAL FESTIVALS in the West Indies, USA and Britain

    CARNIVAL and OTHER SEASONAL FESTIVALS in the West Indies, USA and Britain

    CORE Metadata, citation and similar papers at core.ac.uk Provided by SAS-SPACE CARNIVAL AND OTHER SEASONAL FESTIVALS in the West Indies, U.S.A. and Britain: a selected bibliographical index by John Cowley First published as: Bibliographies in Ethnic Relations No. 10, Centre for Research in Ethnic Relations, September 1991, University of Warwick, Coventry, CV4 7AL John Cowley has published many articles on blues and black music. He produced the Flyright- Matchbox series of LPs and is a contributor to the Blackwell Guide To Blues Records, and Black Music In Britain (both edited by Paul Oliver). He has produced two LPs of black music recorded in Britain in the 1950s, issued by New Cross Records. More recently, with Dick Spottswood, he has compiled and produced two LPs devoted to early recordings of Trinidad Carnival music, issued by Matchbox Records. His ‗West Indian Gramophone Records in Britain: 1927-1950‘ was published by the Centre for Research in Ethnic Relations. ‗Music and Migration,‘ his doctorate thesis at the University of Warwick, explores aspects of black music in the English-speaking Caribbean before the Independence of Jamaica and Trinidad. (This selected bibliographical index was compiled originally as an Appendix to the thesis.) Contents Introduction 4 Acknowledgements 7 How to use this index 8 Bibliographical index 9 Bibliography 24 Introduction The study of the place of festivals in the black diaspora to the New World has received increased attention in recent years. Investigations range from comparative studies to discussions of one particular festival at one particular location. It is generally assumed that there are links between some, if not all, of these events.
  • An Ethnography of African Diasporic Affiliation and Disaffiliation in Carriacou: How Anglo-Caribbean Preadolescent Girls Express Attachments to Africa

    An Ethnography of African Diasporic Affiliation and Disaffiliation in Carriacou: How Anglo-Caribbean Preadolescent Girls Express Attachments to Africa

    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses August 2015 An Ethnography of African Diasporic Affiliation and Disaffiliation in Carriacou: How Anglo-Caribbean Preadolescent Girls Express Attachments to Africa Valerie Joseph University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Social and Behavioral Sciences Commons Recommended Citation Joseph, Valerie, "An Ethnography of African Diasporic Affiliation and Disaffiliation in Carriacou: How Anglo-Caribbean Preadolescent Girls Express Attachments to Africa" (2015). Doctoral Dissertations. 370. https://doi.org/10.7275/6962219.0 https://scholarworks.umass.edu/dissertations_2/370 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. AN ETHNOGRAPHY OF AFRICAN DIASPORIC AFFILIATION AND DISAFFILIATION IN CARRIACOU: HOW ANGLO-CARIBBEAN PREADOLESCENT GIRLS EXPRESS ATTACHMENTS TO AFRICA A Dissertation Presented By Valerie Joseph Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2015 Department of Anthropology © Copyright by Valerie Joseph 2015 All Rights Reserved AN ETHNOGRAPHY OF
  • Language Arts/Reading Winter Express Grades 3-5 Winter 2012-2013

    Language Arts/Reading Winter Express Grades 3-5 Winter 2012-2013

    Language Arts/Reading Winter Express Grades 3-5 Winter 2012-2013 Miami-Dade County Public Schools Office of Academics and Transformation Language Arts/Reading Winter Packet THE SCHOOL BOARD OF MIAMI-DADE COUNTY, FLORIDA Perla Tabares Hantman, Chair Dr. Martin Karp, Vice Chair Dr. Dorothy Bendross-Mindingall Susie V. Castillo Carlos L. Curbelo Dr. Lawrence S. Feldman Dr. Wilbert “Tee” Holloway Dr. Marta Pérez Raquel A. Regalado Jude Bruno Student Advisor Alberto M. Carvalho Superintendent of Schools Milagros R. Fornell Chief Academic Officer Office of Academics and Transformation Marie L. Izquierdo Assistant Superintendent Academics, Accountability and School Improvement Office of Academics and Transformation Karen Spigler Administrative Director Department of Language Arts/Reading Language Arts/Reading Winter Packet Table of Contents Welcome to the Language Arts/Reading Winter Express ...................................................... 4 Winter Celebrations Throughout the World ............................................................................ 7 Which Holiday Do You Celebrate – Cube Activity ................................................................ 11 A Tourist in Your Own Town ................................................................................................ 12 Vocabulary- Christmas Around the World ............................................................................ 13 Winter Solstice ....................................................................................................................
  • December Calendar

    December Calendar

    December 2019 Spokane Area Diversity/Cultural Events National Universal Human Rights Month The Universal Declaration of Human Rights (UDHR) was adopted by the UN in 1948 as a response to the Nazi holocaust and to set a standard by which the human rights activities of all nations, rich and poor alike, are to be measured. The United Nations has declared an International Day for Elimination of Violence Against Women. From November 25th through December 10th, Human Rights Day, the 16 Days of Activism against Gender-Based Violence is to raise public awareness and mobilizing people everywhere to bring about change. The 2019 theme for the Elimination of Violence Against Women is ‘Orange the World: Generation Equality Stands Against Rape’. These dates were chosen to commemorate the three Mirabal sisters, who were political activists under Dominican ruler Rafael Trujillo (1930-1961) who ordered their brutal assassinate in 1960. Join the campaign! You can participate in person or on social media via the following hashtags: Use the hashtags: #GenerationEquality #orangetheworld and #spreadtheword. For more information, visit their website at http://www.un.org/en/events/endviolenceday/. ******************************************************************************** As Grandmother Taught: Women, Tradition and Plateau Art Coiled and twined basketry and beaded hats, pouches, bags, dolls, horse regalia, baby boards, and dresses alongside vintage photos of Plateau women wearing or alongside their traditional, handmade clothing and objects, with works by Leanne Campbell, HollyAnna CougarTracks DeCoteau Littlebull and Bernadine Phillips. Dates: August 2018 through December 2019 Time: Tuesday-Sunday, 10:00 am-5:00 pm Location: Northwest Museum of Arts and Culture, 2316 W. First Ave Cost: $10.00 adult, $8.00 seniors, $5.00 children ages 6-17, $8.00 college students with ID.
  • Creolizing Contradance in the Caribbean

    Creolizing Contradance in the Caribbean

    Peter Manuel 1 / Introduction Contradance and Quadrille Culture in the Caribbean region as linguistically, ethnically, and culturally diverse as the Carib- bean has never lent itself to being epitomized by a single music or dance A genre, be it rumba or reggae. Nevertheless, in the nineteenth century a set of contradance and quadrille variants flourished so extensively throughout the Caribbean Basin that they enjoyed a kind of predominance, as a common cultural medium through which melodies, rhythms, dance figures, and per- formers all circulated, both between islands and between social groups within a given island. Hence, if the latter twentieth century in the region came to be the age of Afro-Caribbean popular music and dance, the nineteenth century can in many respects be characterized as the era of the contradance and qua- drille. Further, the quadrille retains much vigor in the Caribbean, and many aspects of modern Latin popular dance and music can be traced ultimately to the Cuban contradanza and Puerto Rican danza. Caribbean scholars, recognizing the importance of the contradance and quadrille complex, have produced several erudite studies of some of these genres, especially as flourishing in the Spanish Caribbean. However, these have tended to be narrowly focused in scope, and, even taken collectively, they fail to provide the panregional perspective that is so clearly needed even to comprehend a single genre in its broader context. Further, most of these pub- lications are scattered in diverse obscure and ephemeral journals or consist of limited-edition books that are scarcely available in their country of origin, not to mention elsewhere.1 Some of the most outstanding studies of individual genres or regions display what might seem to be a surprising lack of familiar- ity with relevant publications produced elsewhere, due not to any incuriosity on the part of authors but to the poor dissemination of works within (as well as 2 Peter Manuel outside) the Caribbean.
  • December Calendar

    December Calendar

    December 2020 Spokane Area Diversity/Cultural Events National Universal Human Rights Month The Universal Declaration of Human Rights (UDHR) was adopted by the UN in 1948 as a response to the Nazi holocaust and to set a standard by which the human rights activities of all nations, rich and poor alike, are to be measured. The United Nations has declared an International Day for Elimination of Violence Against Women. From November 25th through December 10th, Human Rights Day, the 16 Days of Activism against Gender-Based Violence is to raise public awareness and mobilizing people everywhere to bring about change. The 2020 theme for the Elimination of Violence Against Women is ‘Orange the World: Fund, Respond, Prevent. Collect!’. These dates were chosen to commemorate the three Mirabal sisters, who were political activists under Dominican ruler Rafael Trujillo (1930-1961) who ordered their brutal assassinate in 1960. Join the campaign! You can participate in person or on social media via the following hashtags: Use the hashtags: #GenerationEquality #orangetheworld and #spreadtheword. For more information, visit their website at https://www.unwomen.org/en/news/in- focus/end-violence-against-women. ******************************************************************************** Art Hour Day: Tuesday Time: 4:00 pm – 5:00 pm program includes in-depth interviews with local artists, cultural commentary, and announcements for the creative community and their fans. Hosted by Mike and Eric. On KYRS 92.3 FM or 88.1 FM. Website: http://www.kyrs.org. Can You Queer Me Now? Day: Tuesday Time: 4:00 pm – 4:30 pm Hear voices directly from the Lesbian, Gay, Bisexual, Queer, and Questioning community right here in the Inland Northwest.
  • Emancipation Proclamation Day and Juneteenth

    Emancipation Proclamation Day and Juneteenth

    Waiting for the hour [Emancipation] December 31, 1862. Carte de visite. Washington, 1863. EMANCIPATION PROCLAMATION DAY AND JUNETEENTH CULTURAL RESOURCES Tuesday, January 1, 2008: Emancipation Proclamation Day Or Thursday, June 19, 2008: Juneteenth Bernice Johnson Reagon, Lectionary Team Cultural Resource Commentator William Wiggins, Jr., Lectionary Team Cultural Resource Commentator I. Historical Background and Documents The renewal of the individual's covenant with God through a service was established and emphasized by John Wesley in 1755. Wesley believed that Methodists, and all Christians, should reaffirm their covenant with God annually. Using words written by Richard Allen, Wesley published this service in a pamphlet in 1780, and this form was used without alteration for nearly a century in England. It has been modified somewhat in more recent EMANCIPATION PROCLAMATION/JUNETEENTH - CULTURAL RESOURCES 1 years. The covenant hymn, "Come, Let Us Use the Grace Divine," was written for this service by Charles Wesley. The service is included in The Book of Worship under the title "An Order of Worship for Such as Would Enter into or Renew Their Covenant with God- -For Use in a Watch Night Service, on the First Sunday of the Year, or Other Occasion." This Covenant Service is often used in United Methodism as a Watch Night service on New Year's Eve. The Covenant Service is observed in some local churches on New Year's Day or on the first Sunday in January. The service focuses on the Christian's renewing the covenant of response to the grace of God in Christ. Within the African American tradition, Watch Night services evolved around the issuance of the Emancipation Proclamation by Abraham Lincoln in 1862, when Black people gathered on December 31, 1862, to wait for the new day and the freedom that was promised for January 1863.
  • Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, Vbucha1@Lsu.Edu

    Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected]

    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 6-4-2018 Evolving Performance Practice of Debussy's Piano Preludes Vivian Buchanan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Musicology Commons Recommended Citation Buchanan, Vivian, "Evolving Performance Practice of Debussy's Piano Preludes" (2018). LSU Master's Theses. 4744. https://digitalcommons.lsu.edu/gradschool_theses/4744 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EVOLVING PERFORMANCE PRACTICE OF DEBUSSY’S PIANO PRELUDES A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The Department of Music and Dramatic Arts by Vivian Buchanan B.M., New England Conservatory of Music, 2016 August 2018 Table of Contents Abstract……………………………………………………………………………..iii Chapter 1. Introduction………………………………………………………………… 1 2. The Welte-Mignon…………………………………………………………. 7 3. The French Harpsichord Tradition………………………………………….18 4. Debussy’s Piano Rolls……………………………………………………....35 5. The Early Debussystes……………………………………………………...52 Bibliography………………………………………………………………………...63 Selected Discography………………………………………………………………..66 Vita…………………………………………………………………………………..67 ii Abstract Between 1910 and 1912 Claude Debussy recorded twelve of his solo piano works for the player piano company Welte-Mignon. Although Debussy frequently instructed his students to play his music exactly as written, his own recordings are rife with artistic liberties and interpretive freedom.
  • John Canoe) Festivals of the Caribbean

    John Canoe) Festivals of the Caribbean

    New West Indian Guide Vol. 84, no. 3-4 (2010), pp. 179-223 URL: http://www.kitlv-journals.nl/index.php/nwig/index URN:NBN:NL:UI:10-1-100888 Copyright: content is licensed under a Creative Commons Attribution 3.0 License ISSN: 1382-2373 KENNETH BILBY SURVIVING SECULARIZATION: MASKING THE SPIRIT IN THE JANKUNU (JOHN CANOE) FESTIVALS OF THE CARIBBEAN In certain parts of the Americas colonized by the English and built with the labor of Africans and their descendants, the holiday season at the end of the year was once – and in some areas still is – celebrated by parading bands of masqueraders whose danced processions created an ambiguous, highly charged space of their own.1 These outdoor performances by enslaved Africans amused, mystified, and discomfited the Europeans who observed and wrote about them during the nineteenth century. The loud drumming and singing, “wild” dancing, and “extravagant” costumes topped with horned ani- mal masks and towering headdresses overloaded the senses of these white onlookers, and suggested to them something inscrutably and dangerously African, even when certain European elements could be recognized within the unfamiliar mix. Unlike the pre-Lenten Catholic carnivals that were appropri- ated and refashioned by Africans in several parts of the Americas, this was a festival created by the enslaved themselves. Over time it was accepted by the ruling whites, who came to view it as a necessary evil – a kind of safety valve through which the simmering tensions on slave plantations could be periodi- 1. This article is based on comparative fieldwork and library research supported by a Rockefeller Fellowship at the Center for Black Music Research in Chicago and the Alton Augustus Adams Music Research Institute in St.
  • Activities & Events Program

    Activities & Events Program

    ACTIVITIES & EVENTS PROGRAM WELCOME No matter how you celebrate the season, family and friends are at the heart of the holidays. This year, Baha Mar is celebrating you and your WELCOME 1 loved ones, and the everlasting memories to be made in The Bahamas FAMILY FESTIVITIES 2 - whether you’re here for a romantic holiday getaway, a spectacular celebration, or a memorable family vacation. HOLIDAY FESTIVITIES 4 NEW YEAR’S FESTIVITIES 6 From an exotic tasting for two at Katsuya to dancing the night away JUST FOR KIDS 8 at BOND Nightclub, spend an unforgettable night at Baha Mar. On Saturday, December 29, join us as pop sensation Dua Lipa takes the JUST FOR TWEENS 9 stage for an evening of music and fun on the Jasmine Lawn. JUST FOR TEENS 10 ENTERTAINMENT 12 If you’re joining us with family, experience the season like never before at Baha Mar. Savor our talented chefs’ specialties, “glice” skate under MOVIES & GAMES 14 the Caribbean sun, watch movies under the stars, meet Santa poolside SPORTS & FITNESS 16 and experience the rhythms and colors of Junkanoo—the famously ART & CULTURE 18 vibrant and musical holiday tradition of The Bahamas. CASINO EVENTS 20 Discover a truly spectacular wonderland for kids ages 3-12, inspired by SHOPPING EVENTS 21 the spirit of giving back to families, loved ones, nature, and the world. NIGHTLIFE EVENTS 22 Kids will immerse themselves in authentic Bahamian culture as they create their very own costumes to participate in a real Junkanoo parade CULINARY EVENTS 23 and discover an array of games, activities, crafts and so much more.
  • Danielle Sirek, Phd Candidate Danielle.Sirek@Gmail.Com 418-5340 Supervisor: Dr

    Danielle Sirek, Phd Candidate [email protected] 418-5340 Supervisor: Dr

    MUSICKING AND IDENTITY IN GRENADA: STORIES OF TRANSMISSION, REMEMBERING, AND LOSS DANIELLE DAWN SIREK A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy Awarded for a Collaborative Programme of Research at the Royal Northern College of Music by the Manchester Metropolitan University December 2013 For my family, for my colleagues, for my students: May you find stories of ‘who you are’, and feel connected to others, through your musicking ii Acknowledgements I am grateful for the unending support, academic and personal, that I have received throughout the research and writing of this dissertation. Firstly I would like to thank my husband Adam Sirek, my parents Kim and Marius LaCasse, and my father- and mother-in-law Jan and Elizabeth Sirek, who have been my constant support in every possible way throughout this journey. My thankfulness to you is immeasurable. And to my baby Kathryn, whose smiles were a constant source of strength and encouragement, my thanks and love to you. I would like to express my sincere gratitude to my co-supervisory team, Drs Felicity Laurence and Byron Dueck, who devoted seemingly unending hours closely analysing my thesis, discussing ideas with me, and providing me with encouragement and inspiration in many more ways than just academic. I am truly grateful for their guidance, expertise, and for being so giving of their time and of themselves. I learned so much more than research techniques and writing style from both of them.
  • Sonic Modernities of Our Present By

    Sonic Modernities of Our Present By

    Remixing Relationality: ‘Other/ed’ Sonic Modernities of our Present by Mark V. Campbell A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Sociology and Equity Studies Ontario Institute for Studies in Education University of Toronto © Copyright by Mark V. Campbell 2010 Remixing Relationality: ‘Other/ed’ Sonic Modernities of our Present Doctor of Philosophy 2010 Mark V. Campbell Sociology and Equity Studies University of Toronto Abstract Far from simply playing music, the turntable has, in recent decades, been transformed into a musical instrument. Those that play these new instruments, called Turntablists, alter existing sounds to produce new sonic arrangements, exceeding the assumed use value of the turntable. The turntable’s transformation from record player to instrument captures one of the ways in which Afrosonic sound making activities refuse to conform to existing paradigms of music making in the western world. Throughout the African diaspora, it has been the musics from various regions and nations that continually capture the attention of the world’s music connoisseurs. This dissertation examines the ways in which careful consideration of the sonic innovations in Afrodiasporic cultures produce alternative paradigms through which we might analyze contemporary life. The following chapters interrogate turntablism, remix culture and hip hop music as subtexts that elaborate a foundational narrative of Afrodiasporic life. These subtexts are used as tools to examine the various ethnoscapes of Black Canadian life, official multiculturalism and notions of home within the African diaspora in Canada. The dominant narrative of the African diaspora explored in this work, housed within the sonic, elaborates a relational conception of freedom and modernity born out of the ii particularities of Afrodiasporic life in the west.