DOCSLIB.ORG

READY to LISTEN 7/9/20 Denise Gagne, 2020 Email [email protected] Elementary Music Class

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
READY to LISTEN 7/9/20 Denise Gagne, 2020 Email Denise@Musicplay.Cain Elementary Music Class 7/9/20 7/9/20 READY TO LISTEN 7/9/20 Denise Gagne, 2020 Email [email protected] Elementary Music Class In ElementarySing Music Class Ready to Listen Play MoveSing In ElementaryPlay Music Class Ready to Listen Listen Denise Gagne, July 2020 Move Artie and Denise Online Odyssey ReadSing Listen ReadyDenise Gagne, to July Listen 2020 WritePlay Read Artie and Denise Online Odyssey CreateMove Write Listen Denise Gagne, July 2020 Create Artie and Denise Online Odyssey Read Write Create National Core Arts Standards Listening Warmups Select - How do individuals choose music to experience?National Core Arts Standards ListeningGreat Storybooks: Warmups AnalyzeSelect - How- How do does individuals understanding choose themusic structure to andexperience? context of music inform a response? TheGreat Listening Storybooks: Walk InterpretNational - How Coredo we discern Arts the Standards musical Listening Warmups Analyze - How does understanding the structure Rosie’s Walk creators’and context and ofperformers’ music inform expressive a response? intent The Listening Walk Select - How do individuals choose music to EvaluateInterpretexperience? --HowHow dodo wewe judgediscern the the quality musical of NightGreat Noises Storybooks: by Mem Fox musicalcreators’ work(s) and performers’ and performance(s)? expressive intent Rosie’s Walk Analyze - How does understanding the structure ConnectEvaluateand context - -Understanding Howof music do we inform judge connections a theresponse? quality to variedof SoThe-me Listening Storybooks Walk contextsmusical work(s)and daily and life performance(s)? enhances musicians’ Night Noises by Mem Fox creating,Interpret performing, - How do weand discern responding. the musical Connectcreators’ and - Understanding performers’ expressive connections intent to varied So-Rosie’sme Storybooks Walk contexts and daily life enhances musicians’ • creating,Evaluate performing, - How do weand judge responding. the quality of musical work(s) and performance(s)? Night Noises by Mem Fox Connect - Understanding connections to varied So-me Storybooks• contexts and daily life enhances musicians’ creating, performing, and responding. • Listening Warmups Listening Warmups Listening Warmups •Listening The Listening Warmups Walk by Paul Flowers • The Listening Walk by Paul Flowers - •Read The Listeningto your students, Walk by createPaul Listening Warmups Listeningsound effectsFlowers Warmups with voice, • The- InsertListening video Walk of story by Paul instrument kits, found sounds Flowers - Read to your students, create - Havesound students effects withlist all voice, the - Insert video of story • The Listening Walk by Paul instrumentsoundsFlowers thatkits, theyfound hear sounds • The Listening Walk by Paul Flowers - -ReadHave to studentsyour students, list all createthe soundsounds effects that theywith hearvoice, - Insert video of story instrument kits, found sounds - Have students list all the sounds that they hear Page 1 © 2020 T&V email [email protected] www.musicplay.ca www.musicplayonline.com 1 1 1 7/9/20 So-me Storybooks Listening Section by New Zealand author Stuart Manins Musicplayonline • Listen 1 #1 #1 So-me Goes Missing What do you hear? #2 What Keeps a Beat #2 So-me and the Spider #3 Fast or Slow #4 Loud or Quiet In Listening Section – Extras tab #5 High or Low https://musicplayonline.com/listening/ https://musicplayonline.com/listening/ LINKE TO LISTENING SECTION LINKE TO LISTENING SECTION Listening Warmups Listening Warmups • Make “Listening Egg Pairs” • Each child gets one egg • Give students turns to try and make pairs. • Disinfect eggs before using with another class Listening Warmups Long and Short Sounds I Like Puppies Lesson in PreK • Long or Short sounds? No singing? Listen – make • finger cymbal – stick animal sounds on instruments Make lego patterns • Students close eyes, don’t Play lego patterns on open until sound disappears. instruments • Tell or write if the sound is long or short. LINK TO “I LIKE PUPPIES” 2 Page 2 © 2020 T&V email [email protected] www.musicplay.ca www.musicplayonline.com 7/9/20 Listening Warmups Classroom Instruments Mystery Box • Unit Assess timbre of non-pitched • Worksheets Formative, Summative • Games Also: Listen to Found Sounds • Sort into Families • Virtual Instruments to play • Prepare Rhythm Practice Mystery Box - PK LINK TO MYSTERY BOX LINK TO INSTRUMENTS UNIT Bells on the Sleigh Time to Play • Play nonpitched with song • Play nonpitched with song • No singing? Use recording • No singing? Use recording • Sort into Families • Sort into Families UNITS – Follows Orchestral Instruments UNITS – Follows Orchestral Instruments LINK TO BELLS ON THE SLEIGH LINK TO TIME TO PLAY Instruments of the Orchestra Instruments Flashcards • Unit • Unit • Worksheets • Use during hand-wash lineups • Games LINK TO INSTRUMENTS UNIT Page 3 © 2020 T&V email [email protected] www.musicplay.ca www.musicplayonline.com 3 7/9/20 3 Kinds of Music The Elephant Listening Activities Intercom Listening Script #10: Composer: Camille Saint-Saëns (1835-1921) Composition: “The Elephant,” from Carnival of the Animals. Time: 1:27 v Active Monday: This week’s feature composer is Camille Saint- Saëns. The feature composition is “The Elephant,” from Carnival of the Animals. The Carnival in Paris is like the v Silent Mardi Gras in New Orleans - a big party held before Easter. Saint-Saëns wrote the Carnival of the Animals as a musical joke for the Paris Carnival to entertain his v Intercom friends. Tuesday: This week’s feature composer is Camille Saint- Saëns. The feature composition is “The Elephant…. The Elephant Perceptive Listening Skills WHAT DO YOU HEAR - Analyze v Silent (intro) • Same or different • dynamics v Active – Teacher Demo • tempo • pitch • articulation • texture The Elephant – Listening Section • timbre: instrument families, instruments Reflect, Respond Active Listening: Movement • Conductor of the Day THINK OF • Copycat Game - Kit 1#37, Ribbons FEEL • Carnival of the Animals – Kit 1 #5 Lions WONDER • Winter, Vivaldi – Kit 1 #35 Interpret Evaluate • In the Hall of the Mountain King Connect Select • Minuet, Mozart (Eine Kleine) - scarves The Elephant – Listening Section Page 4 © 2020 T&V email [email protected] www.musicplay.ca www.musicplayonline.com 4 7/9/20 Listening Fun Resource Listening Fun Resource • In the Hall of the Mountain King • Minuet, scarves, More Listening Dramatize Play Along *Turkish March Listen 3 • Fossils: Night at the Museum Agitate – Listen 4 • Kangaroos – mama looking for baby Les Torreadors – Listen 5 • Autumn: Rake the Leaves Up Overture Nutcracker – flashcard play along Stars and Stripes, play along, ribbon demo, cup game • Hungarian #5 – The Chef by Mr. Delgaudio Easy Bucket Drumming - March, Nutcracker Cup Games Music Monsters * Students start with a small dot on paper... Favorite Rag, Scott Joplin, Listening 5 their pencil cannot leave the paper. * Play 5-7 10 second clips from different Viennese Musical Clock, Listening 3 songs in the listening section. * Each time the students draw the shape or Create your own – use Backporch Blues in Musicplay 6 contour they heard. * On the last on they connect back to the dot. • This shape is now their monster. They can add eyes and feature, color their monsters, and name them. Gr. 2-7. • Sharon MacDermott, Prince George BC Page 5 © 2020 T&V email [email protected] www.musicplay.ca www.musicplayonline.com 5 7/9/20 Draw Melodic Contour Listening Glyphs • The Swan from Carnival of • Easter Unit the Animals Ballet of the Unhatched Chicks by Mussorgsky • Give students 2 pieces of 11x17 Name: ___________________ Listening Glyph Grade: ______ paper • Fold in , again and Shell (1) 1 4 Feathers (2) Light Blue = Fast 1 again so there are 8 squares Red = Slow Pink = Loud Pink = Both Purple = Quiet ½to ½draw in ½ Yellow = Both 1 2 3 3 3 • Draw the contour of each Beak (3) 1 4 2 phrase as you listen This song makes me feel: 1 1 Orange = Excited 1 Blue = Sad Background (4) Red = Angry Yellow = Calm Blue = Yes, I love this song Green = No, I don’t like it 1 1 1 1 1 1 1 1 © 2019 Themes & Variations For use of www.musicplayonline.com subscribers only - any other use is prohibited LINK TO EASTER UNIT Reflect, Respond Thank You’s Viewers – for watching! THINK OF FEEL Musicplay Tech Team ~ I don’t have the skills to do this without a team to edit video, set up WONDER Vimeo Live, monitor server activity Interpret Evaluate Musicplay Team and Staff ~ office, graphics, Connect. Select editing, programming, arranging, recording, and customer service ~ our team works hard every day to make Musicplayonline awesome! Musicplayonline $150/year USD for ALL grades! Page 6 © 2020 T&V email [email protected] www.musicplay.ca www.musicplayonline.com 6.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Spectacle, Pageantry, and Parading Whitney Whetstone Louisiana State University and Agricultural and Mechanical College
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2011 Spectacle, pageantry, and parading Whitney Whetstone Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Theatre and Performance Studies Commons Recommended Citation Whetstone, Whitney, "Spectacle, pageantry, and parading" (2011). LSU Master's Theses. 478. https://digitalcommons.lsu.edu/gradschool_theses/478 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]. SPECTACLE, PAGEANTRY, AND PARADING 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 Fine Arts In The Department of Theatre By Whitney Whetstone B.F.A., New York University, 2003 May 2011 Acknowledgements I owe a large debt of gratitude to my assembly krewe, Cammie, Anthony, Amanda, Emilie, Katie, and Hunter. You came along at just the right moment, forced me to stop dithering with the details and actually put everything together. Thanks to the Parade Krewe: Mabrey, Charlotte, Briana, Hunter, Emily, Jeff, Anthony, Amanda, Donald, Tori, Jenny, Kenny, Lisa, Cammie, Frances, Almeda, and Chase. Thank you for dressing up, for pulling the float, and for dancing in the streets. Thank you to my committee, Jim Bussolati, EJ Cho, and Jim Murphy. I appreciate all of your dedication, assistance, and the sounding board.
    [Show full text]
  • 17 16 Claire Tancons Claire Tancons Nicolás Dumit Estévez Opens A
    16 17 Nicolás Dumit Estévez opens a disused folkloric Caribbean tackled Carnival, Junkanoo, and sec- museum in Santiago de los Treinta Caballeros to a ond lines—African diasporic street masquerading Vodoun-spirited masking practice on a Sunday in and parading practices—directly or tangentially, late January (C Room), keeping the spiked masks critically or subversively. They charted the course of the whip-yielding lechones outside; Christophe of the 2014 Caribbean Carnival season, calling at Chassol films and mixes audiovisual fragments of Santiago de los Treinta Caballeros, Fort-de- robin songs, creole speech, beachside rap, and cos- France, Port of Spain, Kingston, New Orleans, tumed parades in and around Fort-de-France London, New York, and Nassau, drafting a new circa late February/early March (BIG SUN) while cartography of performance practices in the pro- monkey impersonators taunt him through his car cess. The artists chosen for EN MAS’ have had a windshield; Marlon Griffith leads a nocturnal pro- long history of engagement with Carnival and car- cession shining a towering light over Port of Spain nivalesque masquerading practices. They come on the second Tuesday of March (POSITIONS + from radically distinct yet undeniably linked his- POWER), as ubiquitous bikini-and-beads mas- torical backgrounds and artistic formations that queraders run countercurrent; Charles Campbell do not preclude yet cannot be subsumed under the invites select guests to follow a guided tour and canonical histories of artistic performance, which attend an event behind masks in a downtown are aligned with narrow Western modernist narra- Kingston neighborhood on Easter Monday (Actor tives long debunked by black Atlantic countercul- Boy: Fractal Engagements), reinserting Actor Boy tural networks.
    [Show full text]
  • The Twenty-First-Century Reinvention of Carnival Rituals in Paris and Cherbourg: Extending the Boundaries of Belonging Via Politicized Ritual
    THE POLITICS OF CARNIVAL The Twenty-First-Century Reinvention of Carnival Rituals in Paris and Cherbourg: Extending the Boundaries of Belonging via Politicized Ritual Monika Salzbrunn University of Lausanne, France KEYWORDS ABSTRACT Carnival Carnival as a research object has been studied from a multiplicity of perspectives: folklore Bœuf Gras studies, European ethnology, social and cultural anthropology, history, sociology, etc. Each Paris of these disciplines has enriched the literature by focusing on different aspects of the event, such as its participatory nature, its transformative potential (at an individual or collective level), Cherbourg and its political dimension broadly conceived. The present article reviews this scholarship and political anthropology uses it to analyze the contemporary Parisian Carnival, which has tried to revive the nineteenth- folklore studies century Promenade du Boeuf Gras tradition on a local and translocal level through its creative collaboration with the carnival of Cherbourg, Normandy. I argue that, through satire and other politicized carnival rituals, the recent protagonists of Parisian Carnival (Les Fumantes de Pantruche) have reinvented the festivities and influenced Norman Carnival, thus extending the boundaries of belonging in both cities. Journal of Festive Studies, Vol. 2, No. 1, Fall 2020, 105—127. https://doi.org/10.33823/jfs.2020.2.1.50 105 The Twenty-First-Century Reinvention of Carnival Rituals in Paris and Cherbourg: Extending the Boundaries of Belonging via Politicized Ritual Monika Salzbrunn 1. Laurent Amiotte-Suchet and Introduction Monika Salzbrunn, eds., L’événe - ment (im)prévisible: Mobilisa- tions politiques et dynamiques Sociology as well as folklore studies often ask whether and how events produce, strengthen, and religieuses (Paris: Beauchesne, transform communities.
    [Show full text]
  • Quizmaster's Q&A Sheet
    QUIZMASTER’S Q&A SHEET FOR MULTIPLE CHOICE QUESTIONS, THE CORRECT ANSWER IS MARKED WITH AN* ROUND 1: MOVIE MASHUPS We’ve made a monster mash up of spooky movie scenes. 3. What is the name of the region in the Atlantic Ocean, Can you name all 10 on your picture sheet? where a number of aircraft and ships are said to have (One point for each movie). disappeared under mysterious circumstances? (Bonus point for giving its other name too.) 1. Halloween & Friday 13th Bermuda Triangle|Devil’s Triangle 2. Ghostbusters & Casper 3. IT & The Ring 4. Which strange historic monument had a missing piece 4. The Others & Scream returned in May this year after being gone for 60 years? 5. Adams Family Values & Hocus Pocus (Bonus point for guessing how old this monument is +–500 years.) Stone Henge|4,500 Years ROUND 2: STRANGER THINGS HAVE HAPPENED Which famous people are these strange stories about? 5. What is the oldest of the Seven Wonders of the Ancient World, and the only one to remain largely intact? (Bonus point for naming the country.) 1. A mask of which actor’s face was used to create The Great Pyramid Of Giza|Egypt Michael Myer’s mask in the Halloween movies? William Shatner*|Tom Cruise|Alec Baldwin ROUND 4: CARNEVILS AROUND THE WORLD 2. When they were a couple, which celebrity pair wore vials of each other’s blood around their necks? Our CarnEvil isn’t the only strange celebration out there! Angelina Jolie and Billy Bob Thornton*|Katy Perry and These questions are all about the different carnivals taking Russell Brand|Marilyn Manson and Dita Von Teese place all over the world.
    [Show full text]
  • THE EARLY 20Th CENTURY LITHUANIAN PRESS on the WINTER-SPRING CARNIVAL AROUND the WORLD
    https://doi.org/10.7592/YBBS2.01 THE EARLY 20th CENTURY LITHUANIAN PRESS ON THE WINTER-SPRING CARNIVAL AROUND THE WORLD Lina Petrošienė Department of Baltic Philology, Klaipėda University, Lithuania e-mail: [email protected] Abstract: The article shows what information the press between 1905 and 1940 provided Lithuanian readers about Shrovetide celebratory traditions around the world. The information collected, consisting of seven articles, thirty photographs and drawings, is fragmentary but fairly informative, providing a good and concise understanding of this cultural phenomenon in a popular manner. By surveying and interpreting the available data, it tries to answer several questions: what significance these publications might have had on Shrovetide celebratory traditions and methods of celebration in the early 20th-century Lithuania; how this information correlates with current academic research and known empirical data; what Lithuanian Shrovetide had in common with the winter-spring carnival celebrated around the world. Keywords: customs and traditions, periodical press, Shrovetide in Lithuania, winter-spring seasonal carnival Lina Petrošienė In the early 20th century the Republic of Lithuania became an independent state and re-appeared on the map of Europe and in the community of free societies. The Lithuanian press of the time promoted the clear goal of fully and proudly integrating in the political, economic and cultural context of Europe and the world as quickly as possible. Beyond informing readers of events in Lithuania and the world, the press sought to forge and inculcate a new national conscious- ness, social morality, fashion, traditions and habits. Urban Shrovetide (Užgavėnės in Lithuanian) carnivals, balls and masquer- ades and rural-style costumed Shrovetide processions were among the press’s favourite topics and among the most exploited, in different ways, of calendrical holidays, right up until World War II.
    [Show full text]
  • Imaging the Invisibles: Cross-Dressing and Gender Play in the French Caribbean
    IMAGING THE INVISIBLES: CROSS-DRESSING AND GENDER PLAY IN THE FRENCH CARIBBEAN CHARLOTTE HAMMOND Royal Holloway, University of London Submitted for the degree of PhD in Drama and French 2014 DECLARATION OF AUTHORSHIP I, Charlotte Hammond, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: C A Hammond Date: 18 September 2014 ABSTRACT Imaging the Invisibles: Cross-dressing and Gender Play in the French Caribbean This thesis explores visual and embodied representations of the practice of cross- dressing in Haiti, Martinique, Guadeloupe and diasporic communities in France. The study examines the strategic performativity of dress as both a covert and overt means of resistance to the gendering, racialization and categorization of bodies during slavery. It pays particular attention to anti-colonial tactics of mimicry, masquerade and mirroring, as deployed in the artistic practices of contemporary Caribbean, diasporic and non-Caribbean film and performance makers. Underpinned by archival research into early performance activities and the historical control of bodies and dress during the Haitian revolutionary period (1791-1804), the study focuses on current expressions of cross-dressing in films and other visual media that negotiate and question this colonial and patriarchal paradigm. It interrogates to what extent corporeal stereotypes that continue to circulate as a legacy of French colonialism are repeated, re-configured and challenged through the performative power of dress, and includes close analysis of identities that cross gender, racial and class binaries in the African-derived religious tradition of Vodou.
    [Show full text]
  • Annie Fee Complete Dissertation
    Gender, Class and Cinephilia: Parisian Cinema Cultures, 1918-1925 Annie Fee A dissertation submitted in partial fulfilment of the requirements of the degree of Doctor in Philosophy University of Washington 2015 Reading Committee: Jennifer M. Bean, Chair Sudhir Mahadevan James Tweedie Program authorized to offer degree: Department of Comparative Literature, Cinema and Media © Copyright 2015 Annie Fee University of Washington Abstract Gender, Class and Cinephilia: Parisian Cinema Cultures, 1918-1925 Annie Fee Chair of the Supervisory Committee: Jennifer M. Bean, Associate Professor of Comparative Literature, Cinema and Media Department of Comparative Literature, Cinema and Media This dissertation examines the discursive strategies through which French intellectual critics exploited gender, nationalism and class as tools in the production of French highbrow and avant- garde film culture. To date, scholars have largely studied French cinema of the inter-war period through the now canonical lens of this reflexive, self-critical community of cinephiles concerned with the state of French cinema. By contrast, I draw on alternative archival sources—including letter columns in popular film weeklies, fan letters, police reports, taxation policies, municipal memos and notices in the leftist press—to reveal the socially engaged and even revolutionary film communities that formed what I call a “counterpublic.” All the dissertation chapters thus deal with key moments and sites of negotiation between, on the one hand, elitist, intellectualising and national bourgeois cinephile critics and filmmakers, and on the other hand, a heterogeneous public of ordinary filmgoers. In some of these moments the negotiation was gradual, discursive and developed through columns in newspapers and film weeklies, while in other moments it took the form of violent clashes.
    [Show full text]
  • 337 REVIEW Ferreira, Felipe. L'invention Du Carnaval Au Xixe Siècle
    REVIEW Ferreira, Felipe. L’Invention du carnaval au XIXe siècle: Paris, Nice, Rio de Janeiro. Translated from Portuguese by Patricia A. Ramos Reuillard and Pascal Reuillard. Geography and Culture series. Paris: L’Harmattan, 2014. 276 pp. EUR 28.50 (paperback), ISBN 978-2-343-04313-5 Aurélie Godet Université de Paris, France The literature on Carioca carnival (and Brazilian carnival in general) is copious, as the bibliography located at the end of this volume reminds us. The originality of historian Felipe Ferreira’s contribution lies in its reliance on transatlantic comparison to analyze the festival’s evolution from 1840 to 1930. Admittedly, cross-cultural comparison has long been favored by scholars working on festivities. However, it has often served to reinforce more than to challenge the accepted boundaries between cities, regions, nations, and cultures. In his well-known Carnivals, Rogues, and Heroes: An Interpretation of the Brazilian Dilemma (1991), anthropologist Roberto DaMatta thus used New Orleans carnival as a foil for Rio carnival, leading him to gloss over aspects that did not fit his conclusion that “in New Orleans, carnival permits the creation of a hierarchy and a gradation among normally equal spaces, while in Rio de Janeiro, a city in which domains are normally arranged hierarchically, carnival makes fragmentation of these domains possible, creating an opening so that the entire city becomes filled with carnivalesque possibilities.”1 Unlike DaMatta, Ferreira takes the three carnivals that he studies—Paris, Nice, and Rio de Janeiro— seriously, devoting an extensively researched chapter to each.2 Rather than merely contrasting them, he points out the many ways they influenced one another, or more exactly, how Carioca KEYWORDS carnival cherry-picked elements from both in order to devise a distinctive festive form rooted in the particular geography and history of the city.
    [Show full text]