Ritual in Prague's Velvet Carnival

Ritual in Prague’s Velvet Carnival

Ronald L. Grimes

Driven by war, interreligious conflict, interethnic hostility, ecological crisis, economic change, rapid globalization, and technological modernization, people are on the move, crossing national and cultural boundaries. Migrating people carry ideas, values, memories, traditions, and practices. Among the most important practices are festivals, performances that display and celebrate who people are. Festivals are multisensory events organized to perform, display, and celebrate religious or cultural values. Such celebrations are often laden with a heavy set of public expecta- tions. They should be occasions of collective joy but also demonstrate conformity or resistance. While some traditional religious festivals are disappearing, others thrive by undergoing radical transformation as they are adapted to new, sometimes quite different social settings. In addition to these imported, exported, and adapted festivals, new ones are being invented or reinvented.

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30 September 2021 Prague’s Velvet Carnival 57 and runs for various to walks makes them also akin —

militant rather than militaristic militant rather than —

Several genres of performance are nested in festivals. When devotees or demonstrators take or demonstrators take When devotees are nested in festivals. of performance Several genres form a consistent typology. and they do not these mix and overlap, Like all categories, the study of and parades emerged out of pilgrimages, processions, My research on rituals, Ronald L. Grimes is Coeditor of the Oxford Ritual Studies series and the author of several books on books on series and the author of several Ritual Studies of the Oxford is Coeditor L. Grimes Ronald is Professor 2014). He Press, University Studies (Oxford Craft of Ritual The ritual, most recently he taught where Laurier University, Wilfrid at and Culture in the Department of Religion Emeritus University Yale taught at Grimes and the performing artscourses on religion and ritual studies. Recently, [email protected] and Charles University. The Contemporary Context of European Festivity Context The Contemporary Carnival emerged during a Velvet The the world. Festivals are blooming and thriving around The University of Limerick started a Master time of renewed European interest in festivals. that the European Commission in 2011 declared Prior to Arts program in 2013. of Festive “spaces and times of concentrated because they are that festivals are central to public culture, Shortly after making this dec- (European Commission 2011). debate and social effervescence” a new the European Union demonstrated its commitment to festivity by establishing laration, “European Platform for Festivals,” budget line and issuing a call for proposals to initiate the social inclusion, “innovation, citing as its reason the potential that festivals have for generating mask Teacher’s The 2013. Prague, Carnival, Velvet Pupils. Roma Teacher and her 1. (facing page) The Figure Barry by Stephenson) (Photo mask. Putin Vladimir 2012 the from recycled was to the streets behaving decorously and moving in an orderly manner, they are probably parad- they are orderly manner, and moving in an behaving decorously to the streets the event celebrative, and exhibitionistic, is demonstrative, If the group ing or processing. one or dignified, more solemn are less demonstrative, If participants . a parade is more likely the activ we might tag- demeanor are militaristic, If the rhythms and . might call this a procession the March on March (1930), such as Gandhi’s Salt demonstrations although walking , ity a march March (2017) are also Women’s and the the Million Man March (1995), (1963), Washington The ethos of these marched. though they are usually walked rather than called marches even events and sacred or transformative place, take to the roads or trails headed for a If participants causes. . we would label this a pilgrimage then return home, events on the ground and in are rough approximations that oversimplify Classificatory grids Using such a terminological forcing scholars to invent other categories. ordinary public usage, are wed- but there happened only outdoors, one might think that processions division of labor, in a military funeral marching or processing? If the Are soldiers ding and funeral processions. rocks are thrown through store windows followed by decorum shatters at a demonstration and a chaotic mob or a planned political action? what shall we call this, the firing of bullets, Prague’s then more recently, From 1972 until now I have studied the Santa Fe Fiesta, festivals. of which began in 1712 as a Spanish commemoration Unlike the Fiesta, Carnival. Velvet having started in 2012. Carnival of Prague is of recent vintage, Velvet the the reconquest, However, in English. Carnival” “Velvet Czech and in “Sametové posvícení” Organizers call it with either the traveling sideshows that sometimes “carnival” English speakers tend to associate such as partying that precedes the fasting of Lent, accompany circuses or with the masked street Neither conno- Venice. and Rio, Trinidad, or Carnival in it does in New Orleans Mardi Gras, a bit more is “festival” or “parade” Velvet event. quite describes the Prague “carnival” tation of is even more accurate. “procession” However, accurate since the event is not pre-Lenten. Situated in public arenas, festivals are often the medium by which cultural, social, and religious and religious social, by which cultural, are often the medium festivals public arenas, Situated in upon. negotiated and reflected identities are Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30September 2021

58 Ronald L. Grimes in ourworld” (2007:482–83). Taylor identifiesitsemergenceinEuropeanpublicculturesasoneof “thenewformsofreligion Charles TaylorSecular Age, who, claimsthatfestivityisexperiencingarenaissance. inA Infact, (Turner 1969). in EuropeanandNorth American rockconcerts, pilgrimages, theatreworkshops, andfestivals nitas in African ritesofpassageonlytorediscovertheseprocesses, nowtagged “the liminoid” carnivalesque” (Bakhtin[1965]1968). began disappearingfromthestreetsin17thcentury, onlytoreappearinliteratureas “the philosopher andliterarycriticMikhailBakhtin(1895–1975)proposesthatmedievalfestivity ical groundsonwhichinterculturalandinterreligiousnegotiationscantakeplace. are setinspecialplaces;theyturnproducespaces. These placesbecomethegeograph- (Council ofEurope2016). As focalpointsonsuchpilgrimageroutes, saystheCouncil, festivals cultural routescapableofprovidingEuropeanswithasenseunityandcommonheritage of Europe’sCulturalRoutesProgramonitinerariesarticulatesthebeliefthatpilgrimagesare education andinterculturaldialogue” (EuropeanCommission2014).

does notseemtosupportthisclaim. etymologies claimthat “carnival” means “goodbye tomeat,” althoughthephilologicalevidence Romans probablydidnot. The etymologyfor “carnival” ismorecomplexanddebated. Folk same termfortheirownfestivities. Whereas Christians feastedandfestivalizedpriortoafast, local andglobal? And even:whatquestionsareworthasking of suchevents? should westudypubliceventsthataremultisited, mixed-genre, multimedia, andsimultaneously vals? Howdomusic, masks, theatre, andotherperformativeelementstransformfestivity?How or fail?Howdocommunitiesevaluatethem? What arethepossibilitiesanddangersoffesti- assume thatwehaveanswers: What isafestival?Howdofestivalswork?thrive tions growingoutofthem. Someofthesemightbebasicquestions, butwescholarsshouldnot effective wouldbetheproductionofrichcasestudiesandformulationincisiveques- earned money. fishing luresaimedatreelingintouristsandconvincingthelocalstopartwiththeirhard- ous truths. Scholarsmayevenhavetoconsiderthemorecrasspossibilitythatfestivalsareflashy festivity inthestreets sage toartsfestivals, andwhetherthecarnivalesqueinliteratureisafunctionalequivalentof tivals reallyfunctionasnewreligions, whetherliminalitysoreadilytranslatesfromritesofpas- ment, andeventstudies. ethnomusicology, ritualstudies, performancestudies, tourismstudies, businessandmanage- many academicdisciplinesaregatheringforthefeast. Among themareanthropology, folklore, 3. 2. 1. or Reflecting onpilgrimagesandfestivals, EuropeansliketoinvoketheCanadianphilosopher Anthropologist Victor Turner (1920–1983)observedliminality, antistructure, andcommu- This elevatedviewoffestivityisdrivenbyscholarshipaswelleconomics. The Russian Etymologically, afe Starting witheitheranelevatedoradebasedviewdoesnotadvanceresearchveryfar. More Whether socialintegrationsoobviouslyarisesfromfestivity, whetherapparentlysecularfes- The folk etymology holds that “carnival” is derived from have forms of religion seen these moments as among the new in our world” (2007:482–83). the everyday, and seem to put us in touch with something exceptional, beyond ourselves. Which is why some For Taylor the festive consists of “moments of fusion in a common action/feeling, which both wrench us out of largely excluded. gets. Low-cost projects that might also be sources of “innovation, social inclusion, education and dialogue” are tional €2,000. As a result, are participants almost exclusively representatives of large music festivals with big bud- The Platform gives spaceonlytofestivals capableofpayingtheannualfee€4,500plusasign-up anaddi- vale (Latin for “goodbye”). For see the case against this view Walter (2003). — stum wasafeast, aRomanreligiousevent. Christiansappropriated the \ all shouldbetreatedasresearchquestionsratherthanassumedobvi- 2 Elevatedtalkaboutfestivityisnowheardaroundtheglobe, and 3 (“meat”)carne and levare (Italian for “to lift or remove”) 1 The focusoftheCouncil Prague’s Velvet Carnival 59

needs — 6 4 whether theoretical or economic and political whether theoretical or — Figure 2. Wenceslas Square, Prague, 17 November 2012. (Photo by by (Photo 2012. November 17 Prague, Square, Wenceslas 2. Figure Grimes) L. Ronald - that echoed across 5

In the afternoon of this same day, the first Velvet Carnival happened. It originated with Olga Velvet Carnival happened. the first In the afternoon of this same day, Comparison, it seems, is inevitable, although sometimes it is implicit rather than explicit. On the problem of of problem the On explicit. than rather implicit is it sometimes although inevitable, is seems, it Comparison, religious in appears it as problem same this On (2015:63–71). Nettl see ethnomusicology in study comparative (2000). Ray and Patton see studies 1948. in published first and Jones Stan by Written University. Charles Studies, Religious and Philosophy of Institute the of Chlup Radek Dr. is mentor Their Contemporary parlance tends to distinguish religious festivals from secular arts festivals. arts festivals. festivals from secular distinguish religious parlance tends to Contemporary arriving at a field site or textual questions arise both before and after Theory and definition 4. 5. 6. Wenceslas Square as people Wenceslas began gathering on the morning of 17 November for a mas- The mood sive demonstration. with labor unions was militant, calling for the downfall of the crosscut by competing bullhorns and loudspeak- The square was sonically current government. Riot erupted. and later by sirens and whistles as a counter-demonstration ers in elevated places, police were called and arrests made. a graduate student of religious studies and theatre at Charles University, 3), Cieslarová (fig. Then she Switzerland. a masked celebration in Basel, She had studied Fasnacht, Prague. returned to Prague to create with Martin Pehal and others a similar festival in Prague. Currently, almost anything can be labeled a festival; the label sells. Festivals no longer have a Festivals no longer the label sells. can be labeled a festival; almost anything Currently, abun- display, other qualities: food, definitive are five More necessary with the gods. connection “festiv- define the term, However we formally openness to visitors. and attitudes, upbeat dance, the Santa Fe Fiesta ritual may be nested: a larger basket in which imagined as is sometimes ity” process may also But the nesting liturgies). masses (rituals, contains several (English: festival) The or festive elements. a ritual may lead to or contain a festival work the other way around: ritual may eventuate in a festival and or the one may give rise to the other: a two may be nested, are akin or linked sequentially, whether embedded mutually and festivals, So rituals vice versa. but not identical. talk about festivity but big repository,

The Emerging Velvet Carnival “Struggle for 17 November is a national holiday officially known as In the Czech Republic, annual event commem- this Rhetorically and officially, 2). (fig. Freedom and Democracy Day” Revolution of Velvet orates the but much else surfaces on 1989, The video “Ritualizing that day. Revolution” Velvet the Czech samples that day’s activities in Carnival’s first Velvet the 2012, and it year (Grimes 2012c), tracks the shift from the militant morning to the ludic after noon. Surprisingly, the video Surprisingly, noon. “Ghost Riders in the opens with American country-and- an Sky,” western tune to be grounded in ethnographic, comparative, and, I would say, videographic research on the videographic research on the say, I would and, comparative, to be grounded in ethnographic, and secular. from traditional and religious to emerging full range of festivals Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30September 2021 Jan Kozák) Figure 3. Olga Cieslarová with the 2013 Velvet Carnival Clown. (Photo by 60 Ronald L. Grimes tentious whereasthe Velvet Carnivaliscelebrative. Velvet Carnivalorganizers andparticipants would callita “family friendly” event. and polemicsintocreativity. Sinceallagesparticipatein the Velvet Carnival, North Americans iconoclastic. The eventisdesigned, saytheorganizers, totransformangerintocelebration and awayofplayfullyespousinglocalcauses. Itstoneisironic andgently, ratherthanmilitantly, signs isprohibited. The Velvet Carnivalisbothareactionagainstthemorning demonstrations tions byparticipantsshouldbeindirect, thatis, satirical orpoetic. Directpoliticalcritiqueon Velvet Carnivalgroupsastheyhandoutflyers, shoutslogans, orsing. Signageandverbaliza- the tuneisheardrepeatedlyinPrague’s Velvet CarnivalandBasel’sFasnacht. most peoplewerenotsinging, andnointerviewedparticipants werecontemplatingsaintliness, noise-makers withinstruments)isplaying “When theSaints GoMarchingIn.” Eventhough

tance. enshrouded bybuildings, themusicechoes, engulfingparticipantsandspectators, evenatadis- of aslampoet’sdrum-infusedrant. By 3:30theprocessionhasbecomeamarchassubgroupof Velvet Carnivalersfollowsthelead organ, tuba, clicksticks, anddrumsareplayingaschildrencontributetheirownfestiveshrieks. ings. From2:00to3:15theoverlapbetweenparticipantsandspectatorsisconsiderable. A street tors decidetojointheprocessionbydancing, singing, orbeatingrhythmsonthebridge’srail- against eachotherorspectators, generatingconsiderablecacophony, especiallywhenspecta- Carnival processionasitpasses. While crossingthebridge, paradinggroupssometimesbutt and adevotionalsinger, areperforming. Then theaudioshiftsat1:28tomusic fromthe Velvet ordinary, non-festiveday, duringwhichtwomusicians, aEuropeandidgeridoo-and-drumplayer (Grimes 2014). This videobeginswithamixofmusicsampledfromCharlesBridgeduringan played bythemarchingSwissmusiciansatheadofline. whole procession. Those inthemiddleoratendcouldbarelyhearpiccolosanddrums 7. Participants insistthatthe Velvet Carnivalisnotademonstration. Demonstrationsarecon- According totheorganizersinterviewedbetween2012and2016 onlyafewrulesgovern Carnival music as it exited the bridge. See also Grimes (2012e). For instance, while gazing at the Lennon Wall, which the procession would eventually pass, one could hear Velvet On thefarsideofCharlesBridge, wherethecanyon-likestreetsarenarrowand An alternatewaytoexperiencetheflowofprocessionisbywatchingBridgingPrague 7 Fromminute4:00totheendofvideo, anactualband(asdistinctfromabunchof either sonicorvisual, ofthe complain thattheyhadnosense, ing interviewedparticipantsto able gapsbetweengroups, lead- procession. There weresize- ing onthecurbcloseto seeming lostifoneisnotstand- bounce awaytowardtheriver, other, sothemusicandsounds side andthe Vltava Riveronthe is borderedbybuildingsonone sion goby. This particularstreet spectator watchingtheproces- takes thepointofviewastatic (Grimes 2013b). This video Carnival 2013: A Spectator’s View procession istowatchVelvet sonic andrhythmicpaceofthe One waytoexperiencethe Prague’s Velvet Carnival 61 8 (Grimes 2012c: 2012c: (Grimes Revolution Velvet Czech the Ritualizing The students hesitated. Yes, the procession is Yes, The students hesitated. 9 Figure 4. Jan Palach death mask made in 1969 by Olbram Olbram 1969 by in made mask death Palach Jan 4. Figure Grimes) L. Ronald by (Photo 2013. Prague, Zoubek. freedom

The near-collision is visible in the background of the video the of background the in visible is near-collision The 5:09–5:14). Koubková, Evelyne Ficková, Barbora Dynda, Jiří Lukáš Brychta, were: fieldwork the conducted who students The managed Pehal Martin Svobodová. Markéta and Sojková, Barbora Preiniger, Matouš Kroulík, Milan Kozák, Jan portion course. the of Skype the In 2012 the demonstration flooded into the streets, surging down National Avenue (Národní Avenue (Národní surging down National into the streets, demonstration flooded In 2012 the I decided to do some historical research to understand the students’ comments. In 1939 the understand the students’ comments. I decided to do some historical research to Jan Palach, A year later another student, In 1968 the Soviet army invaded Czechoslovakia. On 9 November 1989, ída) toward the National Theatre, where Velvet Carnival participants were donning masks for participants were Carnival Velvet where Theatre, the National =ída) toward 8. 9.

History and Festivity if not actually enhance, by scholars that festivals and processions It is often taken for granted to foster community and stretching and that they do so by reaching outward identity, create, little about Czech his- Knowing to cultivate (if not invent) tradition. backward into history I was teaching at Charles University students in a fieldwork course that I asked graduate tory, had historical roots. Carnival Velvet whether the Tr participants were forced so carnival crowd, not stop the huge The police could the procession. the streets. of a rear entrance to avoid a collision on to leave early by way generally avoid the morning events, partly because they are preparing and partly as a statement. and partly as a statement. they are preparing partly because the morning events, generally avoid attended both the participant who had Velvet Carnival only one 2013 I could find In 2012 and afternoon procession. and the morning demonstration held on 17 November, loosely connecting the procession with the Velvet Revolution of 1989, Revolution of 1989, Velvet with the loosely connecting the procession held on 17 November, procession are contemporary rather the allusions of the they replied, no, but other than that, than historical. of that On 11 November Charles University students. Nazis had suppressed a demonstration by In protest shot in the stomach and died a few days later. was a medical student, year Jan Opletal, The Nazis retaliated joined his funeral procession. largely students, 4,000 people, and solidarity, nine students executing of higher education, on 17 November by closing all Czech institutions later, years Two and sending 1,200 others to concentration camps. and professors without trial, Czech student 17 November was dubbed International Students’ Day in honor of the in 1941, honored and celebrated around the world. the day was For several decades, resistance. (his term) “demoralizing effect” Wenceslas Square to protest the invasion’s set himself on fire in Near on the Czech people. the spot where this second Jan immolated himself is a memo- Jan’s death mask now hangs rial. to the left of the front entrance where Arts, of the Faculty of today’s students study philoso- 4). phy and religion (fig. 50 years Nazi sup- after the pression of academic the in the Czech Republic, Eight days later, fell. Wall Berlin was International 17 November, It was also the Students’ Day. 50th anniversary of Jan Opletal’s so students in Prague death, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30September 2021

62 Ronald L. Grimes Carnival, Prague, 2013. (Photo by Pehal) Martin Figure 6. Velvet Carnival masks deposited at the National Avenue shrine. Velvet ing politicians, andassuminganantiwar stance. sion wasbecomingmoreovertly political, withmarchersraisingenvironmentalissues, caricatur morning demonstrationfromthe afternooncelebration. Howeverin2015and2016the proces- it isnotabout17November. In2012and2013aconceptual spatialwedgeseparatedthe or diedforspeakingthetruthto power. Soeventhoughthe Velvet Carnival ison17November, class proudlyannouncedthatan impressivenumberofCharlesUniversitystudentshadsuffered own history. Manyhadnotevenheardthetitle, “International Students’Day,” andnoonein North American students, Czechstudentsinmycourse admittedthattheyknewlittleoftheir (Photo by Ronald L. Grimes) Třída) designed by Krátký a Otakar Příhoda, 1990. Prague, 2013. Figure 5. Velvet Revolution Plaque at National Avenue (Národní procession hadended, afewpar In 2013, afterthe Velvet Carnival shrine, orthePalachmemorial. Revolution, theNational Avenue paid noattentiontothe Velvet out actsofcivic devotion. candles, andwatchotherscarry place flowersormessages, light street. Peoplegosilent, linger, quiet, eventhoughitisonabusy memorative spaces, thisoneis Compared withothercom- dles each17thofNovember. tle arcadeisfloodedwithcan- adjective “Velvet.”the lit- This and thelossoflifesmall, hence one wascomparativelygentle As regimecollapsesgo, this 1989 Velvet Revolutionbegan. space astheplacewhere lic regardsthistiny, cramped for victorysign(fig. 5). Thepub- student handsflashingthe “V” there isamemorialsculptureof badly injured. Today, atthatspot a fewwerebrutallybeatenand an arcadeonNational Avenue; were backedintoacornerof chaos, sothestorygoes, students occupying Sovietarmy. Inthe precipitating theexpulsionof soldiers andtanks, eventually of others, theyconfrontedarmed mobilized. Joinedbythousands National Avenue shrine(fig. 6). side thecandledebrisat ticipants depositedmasksalong than nationalhistory. Likemany contemporary civiccausesrather day, organizersfocusmainlyon brated onahistoricallysaturated Carnival isdeliberatelycele- Even thoughthe Velvet In 2012the Velvet Carnival - - - Prague’s Velvet Carnival 63 - are never per whether rituals, whether rituals, — — Ironically, about the only Ironically, 11 and to power. Turner found Turner and to power. were aiming cameras at each — — spectators, tourists, scholars, even participants scholars, tourists, spectators, —

I taught the first part of the term via Skype; for the last part, in person, we were in the in person, for the last part, I taught the first part of the term via Skype; 10

I was assisted in the fieldwork by Barry Stephenson and Bryn and Stephenson Scott-Grimes. Barry by fieldwork the assisted in was I (2012d). Grimes see students University Charles by Carnival commentarya Velvet the on For Scholars who study festivals comparatively across cultures should not assume that festivals, that festivals, should not assume across cultures study festivals comparatively Scholars who Asked whether the Velvet Carnival was a media event, an organizer replied, “No.” The “No.” an organizer replied, Carnival was a media event, Velvet Asked whether the In 2013, the second year of the Velvet Carnival, I was invited to Prague by Charles Carnival, Velvet the second year of the In 2013, any more than monuments or public buildings, automatically feed collective memory. Even if memory. feed collective automatically public buildings, monuments or any more than by is actually embodied depends on how much Everything deeply. they may not do so they do, and psychological depth assess the historical problem is how to so a major research participants, val- either memories or cannot assume that of research scholars In doing this kind of festivals. It kinesthetic. and sonic, tactile, be olfactory, They can also verbal or visual. ues are exclusively be able to recite) their own history is, (that “know” do not even have to may be that participants are embodied in multiple and vari- both cultural and personal, Memories, to be shaped by it. they also them out their mouths, only contain them in their heads or pour People not ous ways. well. and walk them as stand, They sit, sing and perform them. place to hide or find silence was inside a mask. Maskers reported to us that they could scarcely Maskers reported to us that they mask. place to hide or find silence was inside a Most student researchers and they felt barely noticed except by a few friends or relatives. see, Those who did complained about the visual and sonic isolation imposed did not wear masks. and to become connected to their own They said they had time to think, by full-head masks. wearing a mask or procession may be collective, So even though a festival breathing patterns. creates a sense of isolation that may lead either to contemplation or a sense of isolation. the do not do this for the media but for the community, We answer was simple and clear. when the media paid little attention to the in 2013, However, and the participants. initiatives, other. So the level of reflexivity, induced by media and academe, was high. Two of the Velvet Two of the was high. induced by media and academe, So the level of reflexivity, other. students; the Faculty of Humanities of Charles Carnival’s primary organizers were graduate in the parade; and students of religion and the- University constituted one of the initiatives on the public event. atre were busy conducting audiovisual fieldwork field. One of the course’s goals was to produce written analysis and online audiovisual docu- One of the course’s goals was to produce written analysis and online audiovisual field. students in class often pointed themselves, As if inoculating Carnival. Velvet mentation of the loomed tinted yellow, screen through which I, cameras at each other and the projection in the classroom and in the actual fieldwork situa- Then, Atlantic Ocean. from across the everyone tion, 10. 11. Students of ritual, following Victor Turner, assume that rituals are reflexive. When you see your When you see your rituals are reflexive. assume that Turner, Victor following Students of ritual, “myself” pro- is a reflexive “I hurt myself,” When you say, . that is a reflection “self”mirror, in a us to think about who we or city enacts itself for itself in a way that forces When our tribe noun. of reflexivity The instruments . is performative reflexivity that are as a people, Reflexivity and Festivity and Reflexivity songs, dances, dramas, works of visual art, media images, or scholarly critiques media images, works of visual art, dramas, dances, songs, Create a big-headed mask caricaturing evoking reflexivity. distortion is one way of In fact, fect. and viewers will then beat drums around it, body, merely human put it on a short, a politician, to this public figure be jolted into reflecting on their relationship festivals, Reflexivity also suffuses in rites of passage. this kind of distortion-evoked reflexivity astonishing range of performances (Schechner [2002] and is displayed in processions and in an the outcome good, When it works for Festive distortion can work for either good or ill. 2013). the result is self-aggrandizement When it works for ill, is self-awareness and cultural critique. and defensiveness. Studies to teach a graduate fieldwork University’s Institute of Philosophy and Religious course. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30September 2021

64 Ronald L. Grimes Miss Teacher’s roleinthe2013processionwasthatofanoppressortoRoma children of prejudicesinthecontextworkingwithsociallydisadvantaged children” (Kubelová2014). not knowhermultiplemeanings. able effectinthemediaandonspectatorsthatourteaminterviewed, evenuponthosewhodid procession, therewasnotmuchtimeforreflectingonheridentity. However, shehadconsider the mostcommonreplyweheardwas, “She’s the Teacher.” Sinceshewasbouncingalongina ear cannothear? The slowlymoving, tallteacherinvitesquery andreflexivity. What’s thatthingintrudingintothepicture? What doesthemicrophone capturethatthenaked jolt yourownquestions: What istherelationshipbetweenthesetwocharactersonbridge? that, don’tyou? Well, ifnot, thephotographicjuxtaposition(Teacher, Jesus, microphone)might Teacher-Jesus conversationwithaboommicrophonehoistedhighintheair. Surelyyouget death intoherear, right?Meanwhile, sometechnicianfromCzech TV hasbeen trackingthe No? Well, surely, youcantellthathehasjustbeenstrainingtowhisperthesecretoflifeand She stokestheimagination:Can’tyouseethatshehasjustfinishedgreetingJesusoncross? edly photographedbythemedia, Miss Teacher wasthetallest, mostpowerfuliconicpresence. 13. 12. wrote tracts, searchedforusablephotos, andcommissionedmusicvideos. the cachettheyhadhopedfor. In2014and2015organizersofferedinterviews, setupexhibits, Velvet Carnival, organizersweredisappointedthattheirimagesandmessagesdidnothave Barry Stephenson) Figure 7. The Teacher passing Jesus on Charles Bridge. Velvet Carnival, Prague, 2013. (Photo by to the media. Velvet Carnivalisnotprimarily forthemedia, itsorganizersandparticipantsarenotindifferent Lenka Kubelová, creatoroftheimage, said “The mask isasymbolofrepressivesocietyfull When spectatorspointedtothetallladyandaskedorganizers orresearchers, “Who isthat?” To myeye, figure 7isemblematicofthe2013 Velvet Carnival. Pehal would attribute less significance to it. Martin Pehal Stephenson argues that Barry and I take the bridge seriously because we are visitors from elsewhere; Natoč(2014). Video For a music video on the mask-making process see Nadační Fond Proti Korupci (2015). For a fundraising ad see 13 Widely noticedandrepeat- 12 Soeventhoughthe - Prague’s Velvet Carnival 65 In the parade 16 14 Excessive self-awareness can cripple other-awareness. Excessive self-awareness can cripple other-awareness. 15

Lenka Kubelová made the mask/head. Her group, Tosara, works with socially disadvantaged children, especially especially children, disadvantaged socially with works Tosara, group, Her mask/head. the made Kubelová Lenka (2017). Tosara See Roma. say, factor, other some or reflexivity by created was problem the whether know to research more require would It festivity. public in experience of lack forward-facing.not were faces public the why wondering help couldn’t I A high degree of reflexivity may have inhibited organizers’ ability to see things from the A high degree of reflexivity may have inhibited Observers, noticing the teacher’s entourage, occasionally queried, “Oh, maybe those weird maybe “Oh, occasionally queried, noticing the teacher’s entourage, Observers, point of view of ordinary spectators. 14. 15. 16. swarming around her skirt (fig. 1). Intent on socializing them into proper citizens, she shouted on socializing them into proper citizens, Intent 1). swarming around her skirt (fig. Wait for others.” Say hello. “Don’t fight. instructions: there were prescribed costumes and objects as well as prescribed meanings, but many specta- there were prescribed costumes and objects as well as prescribed meanings, So for a tors did not know what the costumes and props indicated or only learned that later. “deeply meaningful”; they and Roma pupils were Teacher the few observers we interviewed, But for many others the meaning of the tall lady and demonstrated an acute social problem. and festivity.” “fun masked little creatures was shallow: Figure 8. Vladimir Putin, Velvet Carnival, 2012. The Putin mask was resurrected the next year as the the as year next the resurrected was mask Putin The 2012. Carnival, Velvet Putin, Vladimir 8. Figure Grimes) L. Ronald by (Photo Teacher. Since the Velvet Carnival is an emerging festival, organizers continually ask, “Do spectators get “Do organizers continually ask, Carnival is an emerging festival, Velvet Since the Spectators “What does this mean?” Even participants were asking each other, our meanings?” and but many did not understand the meanings of the masks said they enjoyed the event, on their heads and Who are those people wearing buckets emblematic objects (called laterna). Why does the pig have a Who is the tall lady with the skinny hands? dancing with brooms? The procession was as likely to evoke con- and why is it being burned? clothespin on its nose, by organizers and There was a sizeable gap between meanings intended sternation as wonder. meanings received by spectators. are her pupils? But why do they have two faces, looking creatures swarming around her skirt The spectators who read brochures at the rear?” a distorted one at the front and a happy one that the student masks represented Roma children, distributed by parade participants learned and that their distorted front faces were supposed to be the result of educational oppression. were expected to display to the public. rear faces were what they The smiling, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30September 2021

66 Ronald L. Grimes organizer, describedthe2015procession: in the Velvet Carnival, butthesituationischanging. OlgaCieslarová, Velvet Carnival’sprimary ing themusicaFasnachtstaplealongwithmasking. Musicdoesnotyethavethisvalence Swiss practicetheirmusicthroughouttheyearandplayitaggressivelythroughnight, mak- 20. 19. 18. 17. might thinkthatbothquestionswouldbeeasytoanswer:just findorconstructdefinitionsof good researchquestionis:howwouldweknowwhetherafestival isritualisticorreligious?One ritualistic, whereasmostEuropeanandNorth American onesaresecularandnonritualistic. Soa A widespreadassumptionisthat Asian, African, andLatin American festivalsarereligiousand Festive ReligioninPublicSpace ing rent locationtobothparticipantsandspectators. BehindtheshipwasaSchlauchband play- be heardforlongdistances, keepsupthegroup’senergyandsignalsprocession’scur This kindofmusic, becauseitinspiresvigorous, rhythmicprocessing, andbecauseitcan drive winteraway, soitisdeliberatelynoisyanddiscordant. Basel’s FasnachtisanactualCarnivalcelebrationinFebruary, andGuggenmusikismeantto a SchlauchbandtoBaselplayGuggenmusikandexperiencefirsthandtheSwissfestival. 2015). NotonlydidSwissmusiciansleadthePragueprocession, butthe Velvet Carnivalsent keeping itcoherent. music ismoreimportantforcreatinganatmospherethanenergizingtheprocessionand Velvet Carnivalhassofarbeenpredominatelyvisualandsecondarilysonicmusical. noticing andenjoyingtheironyofrecycledheads:Oh, lastyearthatwas... would beone-dimensional, flatratherthanreflexive. By2015manyparticipantshadbegun But iftheydidnotrememberorunderstandthereference, theirexperienceofthePutinhead they couldreflectonthesimilaritiesbetweenheavy-handedteachersandrulers. the visualjokein2013. Intheunlikelyeventthatviewersbothrememberedandunderstood, Paní uc=itelkaPutinová(Teacher Putin). Onlythosewhorememberedtheimagefrom2012got was noneotherthan Vladimir Putin(fig. 8). In2013onlyafewknewherbytruename, few hadnoticed:thatthe Teacher’s headhadbeenrecycledfromthe2012parade, inwhichhe Two skeletonsaccompaniedDeath. BothwereBaselmusiciansplayingtraditionalmarches. messages. We focusedononebigidea, theShipofFools(Narrenschiff). laborates withRussia, commitsxenophobicacts, anddelivershatespeechesasChristmas this year. Things inourcountryaregoingbadly. Ourpresidentisanightmare. Hecol- We hadalotoffunwiththemask-makingandsatiricaltopic, whichwasverypolitical Whereas Basel’sFasnachtisabalanceofsonicallyandvisuallyinflectedreflexivity, Prague’s A fewdaysafter2013 Velvet Carnival, Lenka, themakerofMiss Teacher, pointedoutwhat It can be heard in Romanclip (2015: 3:25ff.). This music can be heard in Romanclip (2015: 1:09–1:50). the University of Basel. Das Narrenschiff tion of the festival (Scott-Grimes 2014). Scott-Grimes,Bryn my son, fieldwork assistant, and a professional musician, wrote his own musical interpreta- became intimateandnontheatrical. (Cieslarová2016) streets ofPragueandplayingmusic(astheydoinBasel). This charivari(nightwalking) current situationintheCzechRepublic. At nightwecontinuedwalkinginmasksthe was beingdraggedbyDeath. The processionwasfunnyandthreatening, justlikethe boat was “protected” againstalienswithbarbedwire, butwedidnotnoticethatourboat played immigrant-fool-sailorsinaboatalongwithpoliticianswithoutaimsorvalues. The Guggenmusik, whichisironicanddissonant, oftenriffingoffpopulartunes. ( The Ship of Fools) was written by German satirist Sebastian Brant (1457–1521), who attended By 2015themusicalexchangewasgoingfullcircle(SametovéPosvícení 18 WeCzechs 20 This kindof 17 - The 19

Prague’s Velvet Carnival 67 - However, these terms are no dif- these However, 21 Figure 9. Visitors touching a small plaque of St. John Nepomuk on on Nepomuk John St. of plaque small a touching Visitors 9. Figure Barry by Stephenson) (Photo 2013. Prague, Bridge. Charles

right here, where you are right here, —

In popular discourse it is common to identify religion with orthodox beliefs and ritual with it is common to identify religion with orthodox In popular discourse Charles Bridge as a mere tourist attraction with Organizers and participants regarded the On the bridge one can wit- I have sorted out some of the definitional issues in “Religion, Ritual, and Performance” (Grimes 2012a). (Grimes Performance” and Ritual, sorted “Religion, in issues definitional the have of I some out ferent from other key terms in academic discourse. Since people argue less about adjectives less about adjectives Since people argue academic discourse. other key terms in ferent from - we can some great sin of postmodernism), the to essentialism, (because nouns lead than nouns qualities move: saying what (nondefinitional) work done by a sideways times get more actual we are not saying that our test case is This way, about a given festival. are religious or ritualistic we then proceed which it has religious or ritualistic qualities, only that a religion or is a ritual, to illustrate. hardens into a static dualism or but this division of labor usually collective liturgical practices, In Prague I found beliefs. assumption that rituals enact participants’ degenerates into an easy by participants’ spatial prac- asking what values are implied another tack, myself forced to take studied ancient Egyptian or students in my fieldwork course mostly Czech graduate tices. were not going to be easily con- so they contemporary Czech practices, Greek texts rather than Sounding very much religion. that festivity is a new form of European Taylor vinced by Charles the Prague students insisted: Czechs are previously, like the Dutch graduate students I taught and they do not sing hymns. they don’t go to church, They don’t believe in God, very secular. is no more religious than it is historical. Carnival procession Velvet the In their view, deliber Velvet Carnival organizers chose Even though no contemporary religious significance. meters of this saint-and-tourist-lined bridge spanning ately and strategically to process the 516 Why? Because the processing they insisted that the procession is not religious. Vltava River, the and because neither the not church organizations, units were civic organizations and NGOs, The implication explicitly spiritual or transcendent. beliefs nor intentions of participants were mattered; loca- Intentions irrelevant to its meaning. was that the location of the procession was tions did not. ness visitors touching a small John Nepomuk sculpture of St. Before Jan lying on his side. a Czech saint John, became St. he was known across the globe, When the queen’s confessor. IV inquired Wenceslas King whether the queen was having so the story Father Jan, an affair, the pri- defended staunchly goes, thus the vacy of the confessional, But his defense queen’s sex life. of the queen’s privacy cost him The king ordered Jan his life. to be tossed from the bridge in 1393 standing with your hand on the 9). brass plaque (fig. 21. - of inclusion and exclu meets the criteria the test-case festival then see whether both key terms, our that we can determine obvious problem is The must do). any formal definition sion (which on the can spend forever problem follows: one The second our choice of definitions. answer by “ritual.” and “religion” squabbles that surround definitional Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30September 2021

68 Ronald L. Grimes joked thateventhepigthinkssuchafarmstinks, hencetheclothespinonitsnose. ered theexistenceofapigfarmatopthissitedesecrationandwanteditmoved. Participants Roma concentrationcamphadbeenhastilyconstructedin1942. The Romacontingentconsid- Participants saidthepigwasasymbolofporkfarmbuiltinLetyonplotlandwhere cal moment chant-like song, aswelltheinterplayofdarkness, shadow, andfire. Theeventwasaliturgi- by virtueoftheirwhitemasks, were “the dead.” The burningwasmarkedwitharepetitive when theprocessionstoppedcoursingthroughcityandcircledintoariversidepark. is itmerelysecular. secular masking. Iftheactofprocessionalbridge-crossingisnotreligiousorritualistic, neither iconography, andthereligiousiconography, sometimesblatantly, sometimessubtly, changes the 25. 24. 23. 22. the Romawereactively “encoding” astheyperformed. The actionswerebeingimprovised, invariant sequencesofformalactsandutterancesnotencodedbytheperformers” (1999:24) ion ofanthropologistRoyRappaport, whodefinesliturgyas “theperformanceofmoreorless ered, declared, anddebatedrapidly, evenduringtheperformanceitself. Contrarytotheopin- cobbled togetherquicklyoutofmaterialsandideasathand. Their meaningswerebeingdiscov- on itsnose, thetwokindsofmasks, thesongs, theclothing, eventhedecisiontoburn was alsooneofthemostblatantlyimprovisedevents. Itskeyelements cession begintoslip. passing acrossaroutesaturatedwithsaintlyimages, theexperienceandmeaningofpro- Velvet Carnivalprocession routeandoneofthemostvisitedtouristdestinationsinPrague. By anything outofthisfact. With its30saintlystatues, thebridgeisakeycrossoverpointon ized actwithreligiousundertones, whetherornot Velvet Carnivalprocessantschoosetomake artistic, andinwhat sense political? to askthesamequestionaboutclaimsthatbridgeis, say, artisticorpolitical. Inwhat sense ofsaints.30 statues Sothebridgeisinsomesensereligious, butinwhatsense?Onewouldhave ter viewoftheriver, artbuffsviewingsculptures, andpiouspilgrimsviewingtouchingthe versed bylocalswalkingtowork, musicianstryingtoearnafewcrowns, touristsgettingabet- superstition, atourist’shabit;there’snothingreligiousaboutit. and shiny, bothorganizersandstudentssaid: All overtheworldtouriststouchstuff;that’sjust Although therewerenoreferencestoGodintheRomaritual, someoftheprimaryactors, Roma participantsburnedapaperpigneartheendof2013 Velvet Carnival(fig. 10), So Iprovokedthestudents: Walking acrossthisbridgeinaprocession, Isaid, isaritual- True, CharlesBridgeisnotonly, orevenmainly, areligious site. Itisamixed-usesitetra- Asked aboutthesignificanceoftouchingsculpturesandplaques, leavingthebrassbright explaining who they were” (in Svobodova 2014). he felt like he was in the middle of a theatre play and suddenly the characters stopped acting and they started ple were pissed off that we had to go back to the piazzetta.well; he said that A friend of mine described it very were at Kampa where the procession lost its energy. We were showing off in the park to nobody. Most of the peo- A different of this stop in the park view by was articulated Pepa Blažejovský,“Two who remarked, hours later we Are the farmers too pigs? Do the farmers get burned with the farm? interpretive ambiguity abounded. They asked: Is the pig the farm? What does pig-burning suggest to vegetarians? The Roma organizers said their intention was toincinerate the pig farm by burning the pig. But among spectators Charles University. For more about her see Bystrého (2012). Led by Ivanka Mariposa Čonková of Iniciativa Otrokem rasy. Čonková is a Roma activist and theatre student at For see a critique of the a priori view Weigert (1974). universal, inescapable, a priori religiosity. I am simply arguing that the place in which an action happens matters. In other words, I am not claiming, as Thomas Luckmann (1967) and Bellah (1967) did,Robert that there is a — highly valued, solemnlystylized, andthoroughlyelevated. 22 At leastmomentarily, themasksandpuppetsreinterpretreligious — 25 the pig, theclothespin Yet, theincineration 24

— 23 were

Prague’s Velvet Carnival 69 27 Liturgical acts can, in Liturgical acts can, 26

for instance, some masks were made small since participants did not have enough time to create big ones. big create to time participantsenough since small made have did not were masks some instance, for —

Student fieldworkers reported a few major improvised decisions, such as the burning of the pig, and many small small many and pig, the of burning the as such decisions, reported few a improvised major fieldworkers Student ones meaning of the problem On 1979). (Staal argument ritual” of “meaninglessness the with is associated Staal Frits (2002). Kramer see music in secular 1967), (Bellah religion civil 1967), (Luckman religion invisible as such concepts to rise give practices Such 1997). Bell 2010; [1982] (Grimes ritualization and 1977), Myerhoff and ritual (Moore Religion has many forms, and only one of them consists of sacrally serious, long-lived, insti- long-lived, and only one of them consists of sacrally serious, Religion has many forms, Even if readers might not conclude with Taylor that European festivals are emergent reli- that European festivals are emergent Taylor Even if readers might not conclude with wear terms with participants who make masks, Interpreters and theorists have to come to tutionalized, orthodox belief, and textually prescribed liturgical practice. Ultimately valued cul- and textually prescribed liturgical practice. orthodox belief, tutionalized, (Grimes 2012b, or improvised ludic, ironic, unorthodox, tural forms can also be free-wheeling, explicitly espoused are used to thinking of religion as a set of commonly held, We 2013a). religion can be tacit and low-lying rather than explicit but beliefs and prescribed ritual actions, and high-profile. fact, be improvised, unless, of course, one rules out this possibility by definition. one of course, unless, be improvised, fact, Carnival is replete with ethical concerns, Velvet one should not overlook the fact that the gions, and suffused with protoreligious tinged with liturgy, marked by brief moments of liminality, because of its improvi- “not ritual” the procession Those who are inclined to judge narratives. styl- which are prescribed, with processants’ actions, sation and play still have to come to terms as well as ludic. and serious, ized, Velvet Carnival quite meaningful even they find the saying and walk in the procession, them, One can the meaning of this object or that action. though they sometimes struggle to specify but one of meanings makes ritual meaningless, that the multiplicity as Frits Staal does, argue, makes the actions hypermeaningful. could just as easily counter that the multiplicity 26. 27. 28. Figure 10. Roma pig-burning. Velvet Carnival, Prague, 2013. (Photo by Barry by Stephenson) (Photo 2013. Prague, Carnival, Velvet pig-burning. Roma 10. Figure on the spot by participants. and even re-revised revised, reimagined, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30September 2021

70 Ronald L. Grimes Grimes, RonaldL. 2012b. “Ritual Creativity, Improvisation, andthe Arts.” Vimeo album. Accessed Grimes, RonaldL. 2012a. “Religion, Ritual, andPerformance.” InReligion, Theatre, andPerformance: Acts of Grimes, RonaldL. (1982)2010. Beginnings inRitualStudies. 3rded. Waterloo, Canada:Ritual Gilfether, Patrick. 2013. KdeJe. Cimrman Vimeo, 6January2014. Accessed 24 January2017. https://vimeo European Commission. 2014. “European platformforfestivalsinthefieldofculture (EFFE) European Commission. 2011. European Arts Festivals: Strengthening cultural diversity. Brussels:European Council ofEurope. 2016. Cultural RoutesoftheCouncilEurope. Accessed 4 April 2017. http://culture Cieslarová, Olga. 2016. Emailcorrespondencewithauthor, 21January. Bystrého, Tomáše. 2012. “Ivanka MariposaC Bellah, RobertN. 1967. “Civil Religionin America.” Daedalus 96, 1:1–21. Bell, CatherineM. 1997. Ritual:Perspectives andDimensions. Oxford:OxfordUniversityPress. Bakhtin, Mikhail. (1965)1968. RabelaisandHis World. Translated byHélèneIswolsky. Bloomington:Indiana References resist andreimagine. are notthefirsttoresist, norwilltheybethelast. Emergingfestivalsfeedthehumanappetiteto allowing thedeclarativetodisplacesubjunctive, orthecanonicaltousurpludic. They risma, thecanonizationofpractice, andthebureaucratizationofauthority. They willresist canonize willinevitablyemerge. The organizersaredeadsetagainsttheroutinizationofcha- has not, ornotyet, developedaliturgicalcanon. The Velvet Carnivalisyoung, butpressuresto the mostpopularCzech(butnotactuallygivenawardbecausehewas “real”). tive, Czechstakehimseriously. Severalpeopletoldmethatina2005mediapoll, hewasvoted fool whoexistsnowherebutcanappearanywhere(Gilfether2013). Although Cimrmanisfic- Reputedly basedonanactualhistoricalCzech(bornin Vienna noless), Cimrmanisthewise tion, andwearinghissister’sclothing. Tower, creatingthefirstpuppetshowinParaguay, rotatingtheperiodictabletoitscurrentposi- credited withimprovingthebalancewheelforSwisswatches, designingthebaseofEiffel Cimrman? Ihadneverheardofhim, soIbegantoaskquestions. JáraCimrman, Iwastold, is Cimrman inmyear. The voicesuggestedthatCimrmanwaslookingforme. OrmaybeIwas ries) tomaketheinterpretiveturnthatIamhintingat. for alternativeconceptions. Onecouldusethesefestiveprecedents(aswellasacademictheo- fiction, play, andimprovisation, butthereisprecedentinPragueandotherfestival-richcities Prague’s Velvet Carnivalisreligious, political, andmusicalinquixotic, ramshackleways. It The listofCimrman’saccomplishmentscontinuestogrowasIwriteandyouread. A fewweekspriortothe2013Carnival, acageyfestivalorganizerwhisperedthenameJára Mainline Western scholarshiphasatendencytotreatreligionandritualastheoppositesof 24 January 2017.24 January https://vimeo.com/album/1524902. Faith, editedbyLanceGharavi, 27–41. London:Routledge. Studies International. .com/83510194. -festivals_en. to start!” Accessed 15March2015. https://ec.europa.eu/culture/news/2014/20140203-platform-for ec.europa.eu/research/social-sciences/pdf/policy_reviews/euro-festival-report_en.pdf. Commission Directorate-GeneralforResearchandInnovation. Accessed 18January2016. https:// -routes.net/cultural-routes. -desetiminutovce-tomase-bystreho. 2017. www.romea.cz/cz/video/desetiminutovka/ivanka-mariposa-conkova-studentka-damu-v Bystrého” [IvankaMariposaC University Press. onková, Studentofthe Academy ofPerforming Arts]. Accessed 13 April = onková, studentkaDAMU, vDesetiminutovce Tomáše= — ready Prague’s Velvet Carnival 71 . Posvícení Sametového Aneb Delegace — . YouTube, 17 November. Accessed 17 November. YouTube, 2015. . New York: Macmillan. York: New The Problem of Religion in Modern Society. Invisible Religion: . Ithaca, NY: Cornell NY: Ithaca, . Anti-Structure and The Ritual Process: Structure

https://www.youtube.com/watch?v=S0JBPuhIx 2017. Accessed 24 January 7 May. YouTube, _4&feature=youtu.be. http://vimeo.com/ronaldlgrimes/vcmusicvideo. 2017. Charles University. /Tosara/243114282396443. University Press. Traditions. Inner VT: Rochester, 19–34. Graham, translated by Jon E. Origins, 3:181–88. 24 January 2017. https://www.youtube.com/watch?v=R5-_hyZCoGo. 24 January 2017. https://www.youtube.com/watch?v=QlK2epQM94g. 24 January 2017. Illinois Press. Press. Berkeley: University of California . Age Postmodern University Press. https://www.youtube.com/watch?v=yJhcnjWvRLw. 24 January 2017. http://vimeo.com/ronaldlgrimes/ritualizing-velvet-revolution. 24 January 2017. https://vimeo.com/album/2688862/video/65263285. January 2017. Accessed 24 http://vimeo.com/ronaldlgrimes/velvetcarnival. 2017. https://vimeo.com/album/2688862/video/84260511. 24 January 2017. .com/ronaldlgrimes/bridgingprague. , 3rd ed. London: Routledge. 3rd ed. , An Introduction Studies: Performance (2002) 2013. Richard. Schechner, 24 January Accessed 2014. 17 May Vimeo, A . Carnival: Music Video The Velvet 2014. Bryn. Scott-Grimes, 1:2–22. Numen 26, “The Meaninglessness of Ritual.” 1979. Frits. Staal, Prague: Unpublished course paper. Velvet Carnival.” in the “Purification 2014. Marketa. Svobodova, MA: Harvard University Press. A Cambridge, 2007. . Age Secular Charles. Taylor, http://tosara.cz; also see https://www.facebook.com/pages 2017. April Accessed 12 “Tosara.” 2017. Tosara. 1969. W. Victor Turner, of Pagan In Christian Mythology: Revelations The Enigma of a Name.” “Carnival: 2003. Philippe. Walter, Sociological Analysis 35, “Whose Invisible Religion? Luckmann Revisited.” 1974. Andrew J. Weigert, please visit supplemental media related to this article, view To www.mitpressjournals.org/doi/suppl/10.1162/DRAM_a_00673 YouTube, 16 November. Accessed 16 November. =íte Ho? YouTube, Podpor Chceme I Pr=íští Rok, Posvícení Sametové 2014. Video. Natoc= of Urbana: University 3rd ed. Discussions, Thirty-Three of Ethnomusicology: The Study 2015. Bruno. Nettl, Religion in the Comparative Still Dwells: A Magic 2000. eds. Ray, and Benjamin C. Kimberley C., Patton, Cambridge: Cambridge Ritual and Religion in the Making of Humanity. 1999. A. Roy Rappaport, Accessed 24 January 2017. 2 December. YouTube, 2015. V Praze Posvícení Sametové 2015. Romanclip. V Basileji 2015 Na Fasnacht Schlauchband 2015. Sametové Posvícení. . Berkeley: University of California Press. Berkeley: a Critical History. Toward Musical Meaning: 2002. Lawrence. Kramer, 27 January. correspondence with author, Email 2014. Lenka. Kubelová, 1967. Thomas. Luckmann, . Assen, Amsterdam: Van Gorcum. Amsterdam: Van Assen, Secular Ritual. 1977. eds. Myerhoff, and Barbara G. Falk, Sally Moore, Posvícení Na Sametové Pr=íprava 2015. Nadac=ní Fond Proti Korupci. . Vimeo, 1 May 2013. 1 May 2013. Vimeo, A Commentary. Revolution: Velvet Czech Ritualizing the 2012d. Ronald L. Grimes, Accessed 24 January 30 November 2012. Vimeo, . Prague 2012, Carnival Velvet 2012e. Ronald L. Grimes, Canada: Ritual Studies International. Waterloo, . Ritual Fictive 2013a. L. Ronald Grimes, Accessed 15 January 2014. Vimeo, . View Spectator’s A 2013: Carnival Velvet 2013b. L. Ronald Grimes, http://vimeo Accessed 24 January 2017. 16 January 2014. Vimeo, . Bridging Prague 2014. L. Ronald Grimes, . Vimeo, 5 December 2012. Accessed 2012. 5 December Vimeo, . Revolution Velvet Czech Ritualizing the 2012c. Ronald L. Grimes, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00673 by guest on 30 September 2021