A study of the carnival traditions that created "whole theater" folk pageants

During the masquerades common during carnival time, jumbies (ghosts or ancestral spirits) are set free to roam the streets of Caribbean nations, turning the world topsy-turvy. Modern carnivals, which evolved from earlier ritual celebrations featuring disguised performers, are important cultural andeconomic events throughout the Caribbean, a direct link to a multilayered history. This work explores the evolutionary connections in function, garb, and behavior between Afro-Creole masquerades and precursors from West Africa, the British Isles, and Western Europe. Robert Wyndham Nicholls utilizes a concept of play derived from Africa to describe a range of lighthearted and ritualistic activities. Along with Old World seeds, he studies the evolution of Afro- Creole prototypes that emerged in the Eastern Caribbean—bush masquerades, stilt dancers, animal disguises, she-males, female masquerades, and carnival clowns. Masquerades enact social, political, and spiritual roles within recurring festivals, initiations, wakes, skimmingtons, and weddings. The author explores performance in terms of abstraction in costume-disguise and the aesthetics of music, songs, drum rhythms, dance, and licentiousness. He reveals masquerades as transformative agent, ancestral endorser, behavior manager, informal educator, and luck conferrer.

Corinne La Mer claims she isn’t afraid of anything. Not scorpions, not the boys who tease her, and certainly not jumbies. They’re just tricksters made up by parents to frighten their children. Then one night Corinne chases an agouti all the way into the forbidden forest, and shining yellow eyes follow her to the edge of the trees. They couldn’t belong to a jumbie. Or could they? When Corinne spots a beautiful stranger at the market the very next day, she knows something extraordinary is about to happen. When this same beauty, called Severine, turns up at Corinne’s house, danger is in the air. Severine plans to claim the entire island for the jumbies. Corinne must call on her courage and her friends and learn to use ancient magic she didn’t know she possessed to stop Severine and to save her island home.

Deep beneath the waves, a great enemy awakens . . . Corinne LaMer defeated the wicked jumbie Severine months ago, but things haven’t exactly gone back to normal in her Caribbean island home. Everyone knows Corinne is half-jumbie, and many of her neighbors treat her with mistrust. When local children begin to go missing, snatched from the beach and vanishing into wells, suspicious eyes turn to Corinne. To rescue the missing children and clear her own name, Corinne goes deep into the ocean to find Mama D’Leau, the dangerous jumbie who rules the sea. But Mama D’Leau’s help comes with a price. Corinne and her friends Dru, Bouki, and Malik must travel with mermaids across the ocean to fetch a powerful object for Mama D’Leau. The only thing more perilous than Corinne’s adventures across the sea is the jumbie that waits for her back home. With action-packed storytelling and inventive twists on Caribbean and West African mythology and fairy tales, Rise of the Jumbies is a breathlessly exciting tale of courage and friendship. An NPR Best Book of 2017 A Kirkus Reviews Best Book of 2017 A School Library Journal Best Book of 2017

This is the third collection produced by members of a six-year research project, funded by the NUFU (Norwegian Programme for Development, Research, and Education), whose concern was to find, preserve, and analyse ‘orature’ – spoken forms of all kinds, both their unique qualities and their equivalence in importance to ‘literature’. A major focus was the ways in which forms of orature can be made relevant to the demands of rapidly developing nations faced with insistent problems (HIV/AIDS, administrative needs, shifts in social and familial structure, the changing roles of women). Both innovative and archival, the essays explore older legends and modern performances to outline their positive and dynamic contribution to a protean society. Some contributors address the ways in which traditional forms may be adapted: e.g., via new media to combat the HIV/AIDS pandemic and to educate children in social and individual responsibility. Traditional narratives and children’s songs can function to counter cannibalism and child sacrifice. Less dark aspects of contemporary society also receive attention. Traditional patterns of leadership are adapted to today’s conditions, especially by offering women models in the form of earlier figures and their actions. Two essays analyse the use of proverbs in the speeches of political candidates and discussing traditional music festivals as celebrations of traditional kingship and rule. Others examine the nature and operation of specific forms of orature – riddles and their subtle alteration according to performer and audience; concepts of heroism; stories of origin; and variants of ‘Little Red Riding Hood’. These sensitive analyses are framed by pieces from members of the research project in Norway and Uganda. Dominica Dipio is Associate Professor in the Department of Literature, Makerere University and coordinator in the south of the NUFU research project. Stuart Sillars is Professor of English Literature in the Department of Foreign Languages, University of Bergen, and coordinator in the north of the research project.

How can we create more inclusive spaces in the field of dance? This book presents a framework for dance practitioners and researchers working in diverse dance cultures to navigate academia and the professional dance field. The framework is based on the idea of "cultural confluences," conjuring up an image of bodies of water meeting and flowing into and past one another, migrating through what the authors refer to as the mainstream and non-mainstream. These streams are fluid categories that are associated with power, privilege, and the ability (or inability) to absorb other cultural forms in shared dance spaces. In reflective interludes and dialogues, Emoghene and Spanos consider the effects of migration on their own individual experiences in dance to understand what it means to carry culture through the body in various spaces. Through an analysis of language, aesthetic values, spaces, creative processes, and archival research practices, the book offers a collaborative model for communicating the value that marginalized dance communities bring to the field. This book will be of great interest to students, scholars, and arts administrators in dance.

High Mas: Carnival and the Poetics of Caribbean Culture explores Caribbean identity through photography, criticism, and personal narrative. Taking a sophisticated and unapologetically subjective Caribbean point of view, the author delves into Mas--a key feature of Trinidad performance--as an emancipatory practice. The photographs and essays here immerse the viewer in carnival experience as never before. Kevin Adonis Browne divulges how performers are or wish to be perceived, along with how, as the photographer, he is implicated in that dynamic. The resulting interplay encourages an informed, nuanced approach to the imaging of contemporary Caribbeanness. The first series, "Seeing Blue," features Blue Devils from the village of Paramin, whose performances signify an important revision of the post-emancipation tradition of Jab Molassie (Molasses Devil) in Trinidad. The second series, "La Femme des Revenants," chronicles the debut performance of Tracey Sankar's La Diablesse, which reintroduced the "Caribbean femme fatale" to a new audience. The third series, "Moko Jumbies of the South," looks at Stephanie Kanhai and Jonadiah Gonzales, a pair of stilt-walkers from the performance group Touch de Sky from San Fernando in southern Trinidad. "Jouvay Reprised," the fourth series, follows the political activist group Jouvay Ayiti performing a Mas in the streets of Port of Spain on Emancipation Day in 2015. Troubling the borders that persist between performer and audience, embodiment and spirituality, culture and self-consciousness, the book interrogates what audiences understand about the role of the participant-observer in public contexts. Representing the uneasy embrace of tradition in Trinidad and the Caribbean at large, the book probes the multiple dimensions of vernacular experience and their complementary cultural expressions. For Browne, Mas performance is an exquisite refusal to fully submit to the lingering traumas of slavery, the tyrannies of colonialism, and the myths of independence.