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dc.contributor.advisor Powell, Richard en_US
dc.contributor.author Noel, Samantha A. en_US
dc.date.accessioned 2009-12-18T16:34:23Z
dc.date.available 2009-12-18T16:34:23Z
dc.date.issued 2009 en_US
dc.identifier.uri http://hdl.handle.net/10161/1646
dc.description Dissertation en_US
dc.description.abstract <p>While great strides have been made in the study of Trinidad Carnival, there has yet to be a robust inquiry into how women have contributed to its evolution. One major reason for this shortcoming is that the dominant cultural discourse relies on a reductive</p><p>dichotomy that recognizes the costumes created prior to the 1970s as creative and those made after the 1970s as uncreative. This arbitrary division of the costume aesthetic reflects a distinct anti-feminist bias that sees women's spirited emergence in Carnival</p><p>territory in the 1970s as apolitical. </p><p>My dissertation exposes this dilemma, and seeks to undermine this</p><p>interpretation, by its focus on how women's bodies, their presentation, and their acknowledgment of the body's potential for non-verbal articulation impacted the evolution of performance practices and the costume aesthetic in Trinidad Carnival. I</p><p>explore how the predominance of women in Carnival since the 1970s and the bikinibased costume aesthetic that complements this change is suggestive of women's urgent need to manipulate the body as an aesthetic medium and site of subversion. Critical to</p><p>this argument is a close examination of certain female figures who have had a sustainable presence in Trinidad Carnival's history. My project acknowledges the <italic>jamette</italic>, a working class woman who defied Victorian tenets of decorum in preindependence</p><p>Trinidad. This figure has been overlooked in the predominant scholarship of Trinidad Carnival history. Another section of my dissertation explores the influence of the Jaycees Carnival Queen competition. Women of mostly European descent participated in this Carnival-themed beauty pageant that remained popular until the</p><p>1970s. I also examine the legend of <italic>soucouyant</italic> (an old woman who turns into a ball of fire at night and sucks the life blood from unsuspecting victims) and how this figure can be deployed to reinterpret <italic>Jouvay</italic> (the ritual that marks the beginning of Trinidad Carnival).</p> en_US
dc.format.extent 81083459 bytes
dc.format.mimetype application/pdf
dc.language.iso en_US
dc.subject Art History en_US
dc.subject Caribbean Studies en_US
dc.subject Caribbean Art en_US
dc.subject Festival Studies en_US
dc.subject Gender Studies en_US
dc.subject Performance Art en_US
dc.subject Visual Studies en_US
dc.title Carnival Is Woman!: Gender, Performance, and Visual Culture in Contemporary Trinidad Carnival en_US
dc.type Dissertation en_US
dc.department Art, Art History, and Visual Studies en_US
duke.embargo.months 6 en_US
dc.date.accessible 2009-12-19T06:00:03Z

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