ISBN:
9781496819383
,
9781496819390
Language:
English
Pages:
xii, 245 Seiten
,
Illustrationen
Parallel Title:
Online version Browne, Kevin Adonis, author High mas
DDC:
394.2509729
Keywords:
Streetphotography
;
Karneval
;
Kulturelle Identität
;
Trinidad und Tobago
;
Bildband
;
Bildband
;
Bildband
;
Karneval
;
Kulturelle Identität
;
Streetphotography
;
Trinidad und Tobago
Abstract:
Ash Wednesday -- Proscenium for an aqueous humor -- Deliberative daemonic : making mas rhetorica -- A shot in the dark : toward a poetics of Caribbeanist photography -- Series : seeing blue -- Seeing blue : genesis of public executions -- Series : la femme des revenants -- La femme des revenants : a queen of sorrows -- Series : moko jumbies of the South -- Moko jumbies of the South : walking stick -- Series : jouvay reprised -- Jouvay reprised : a people, ground to dust
Abstract:
"High Mas explores Caribbean identity through photography, criticism, and personal narrative. Taking a sophisticated and unapologetically subjective Caribbean point of view, Browne delves into Mas as an emancipatory practice. The photographs and essays give the viewer an opportunity to see how performers are or wish to be perceived, as well as how the photographer 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-emancipatory tradition of Jab Molassie in Trinidad. The second series, "La Femme des Revenants," chronicles the debut performance of Tracey Sankar-Charleau'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. "Jouvay Ayiti," 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. The book probes the multiple dimensions of vernacular experience, representing the uneasy embrace of tradition and the reappropriation of complementary cultural expressions, and, through Mas performance, suggests an explicit refusal to fully submit to the lingering traumas of slavery, colonialism, and the myth of independence." -- provided by publisher
Note:
Includes bibliographical references and index
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