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dc.contributor.authorMieves, Christian
dc.contributor.authorDe Jong, Nanette
dc.date.accessioned2018-03-09T14:37:21Z
dc.date.available2018-03-09T14:37:21Z
dc.date.issued2016-12-31
dc.identifier.citationDe Jong, Nanette and Mieves, Christian (2016) "The Trope of Flattening and the Complexities of Difference: An Account of Trinidad Carnival," Anthurium: A Caribbean Studies Journal: Vol. 13 : Iss. 2 , Article 5.
dc.identifier.issn1547-7150
dc.identifier.urihttp://hdl.handle.net/2436/621163
dc.description.abstractThis paper critiques the position of flattening as an alternative way to map and analyse power structures in Trinidad Carnival. As will be argued, traditional hierarchies of meaning and value invert in Carnival, with participants using masquerade and the visual arts to perform and critique the contradictions of Trinidad society, and to make or unmake categories of difference. Flattening, as the authors argue, is particularly well suited when speaking about Carnival, whose cultural frames are constantly blurred, stretched, erased or redrawn, and where distortions of social and cultural distinctions are realised visually. Furthermore, flattening emphasises the elasticity and fluidity that often confounds notions of difference; and it captures the experiences of fragmentation and flux that are central to displays of difference at Carnival. The selected case studies introduced in this paper draw on diverse visual accounts. Such an analysis enables an opportunity to view Trinidad Carnival as a localised social representation of difference, suggesting a blurring of identity conventions in Carnival that offers an opportunity not only to scrutinise social change in Trinidad but also to assess the meaning of social change in the Caribbean more broadly.
dc.language.isoen
dc.publisherUniversity of Miami
dc.relation.urlhttps://scholarlyrepository.miami.edu/anthurium/vol13/iss2/5/
dc.subjectChris Ofili
dc.subjectPeter Doig
dc.subjectflattening
dc.subjectTrinidad
dc.subjectcarnival
dc.subjectQueen of the Bands
dc.title‘The Trope of Flattening and the Complexities of Difference: An Account of Trinidad Carnival’
dc.typeJournal article
dc.identifier.journalAnthurium: A Caribbean Studies Journal
dc.date.accepted2016-12-01
rioxxterms.funderUniversity of Wolverhampton
rioxxterms.identifier.projectUoW090318CM
rioxxterms.versionAM
rioxxterms.licenseref.urihttps://creativecommons.org/CC BY-NC-ND 4.0
rioxxterms.licenseref.startdate2018-03-09
dc.source.volume13
dc.source.issue2
dc.source.beginpage1
dc.source.endpage26
refterms.dateFCD2018-10-19T08:34:27Z
refterms.versionFCDAM
refterms.dateFOA2018-03-09T00:00:00Z
html.description.abstractThis paper critiques the position of flattening as an alternative way to map and analyse power structures in Trinidad Carnival. As will be argued, traditional hierarchies of meaning and value invert in Carnival, with participants using masquerade and the visual arts to perform and critique the contradictions of Trinidad society, and to make or unmake categories of difference. Flattening, as the authors argue, is particularly well suited when speaking about Carnival, whose cultural frames are constantly blurred, stretched, erased or redrawn, and where distortions of social and cultural distinctions are realised visually. Furthermore, flattening emphasises the elasticity and fluidity that often confounds notions of difference; and it captures the experiences of fragmentation and flux that are central to displays of difference at Carnival. The selected case studies introduced in this paper draw on diverse visual accounts. Such an analysis enables an opportunity to view Trinidad Carnival as a localised social representation of difference, suggesting a blurring of identity conventions in Carnival that offers an opportunity not only to scrutinise social change in Trinidad but also to assess the meaning of social change in the Caribbean more broadly.


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