Journal articles: 'Carnival'

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Subagio, N. Ari, Hari Sukarno, Khanifatul Khusna, Abdul Muhsyi, and Agus Priyono. "COMPETITIVE ADVANTAGE ANALYSIS: A VALUE CHAIN MODEL IN THE JEMBER CARNIVAL INDUSTRY." Jurnal Ilmiah Ekonomi Bisnis 29, no. 1 (2024): 18–27. http://dx.doi.org/10.35760/eb.2024.v29i1.9389.

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The subsector of performing arts studied in this research is in carnival performance art. The pandemic era has made the performance of all business entities decline, including in the creative industry of the performing arts subsector (Carnival). The research method used is qualitative research, namely by describing and exploring the application of value chains and culture in the creative industry of the carnival performing arts subsector in the Jember region. The data were collected through interviews, observations, and document analysis. The study concludes with the identification of the value chain sustainability model event in Jember, comprising five key elements. These elements include creation, production, dissemination, exhibition, and consumption, indicating the presence of a comprehensive value chain within the Jember Regency carnival event. Jember Carnival's one-of-a-kind creative vision woven through the entire elements, from creation to consumption, gives it a major differentiation advantage compared to standardized carnival offerings. The uniqueness provides lasting value and competitive edge. A potential chain that can be used as a source of competitive advantage for the sustainability of the Jember carnival event is to have a different creation from other carnivals.

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Spraker, Jean. "“Come to the Carnival at Old St. Paul”: Souvenirs from a Civic Ritual Interpreted." Prospects 11 (October 1986): 232–46. http://dx.doi.org/10.1017/s0361233300005366.

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The lines above constitute the chorus of a jaunty one-step which, its publishers hoped, would lure visitors to the St. Paul Winter Carnival of 1917. This civic celebration, first held in Minnesota's capitol city for the first twelve days of February, 1886, is still held and continues to incorporate a round of activities including parades, oratory, winter sports, mock royalty, balls and constructions of ice sculptures. Since the Carnival's inception, a variety of materials—running the gamut from promotional sheet music, programs, postcards and buttons to relics from previous carnivals—have been issued and collected to boost and commemorate the city of the Winter Carnival.

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Koroleva, Alina. "THE MEMORY OF THE TRAGEDY IN CASAS VIEJAS IN THE SONGS OF THE CARNIVAL IN THE CADIZ OF THE TIME OF THE SECOND REPUBLIC." Latin-American Historical Almanac 32, no. 1 (April 12, 2021): 293–307. http://dx.doi.org/10.32608/2305-8773-2021-32-1-293-307.

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Carnival songs in Andalusia differ from other world carnivals in that, they always reflect the news agenda of the past year. A special place in the "journalism of songs" is occupied by social issues, considered in the article on the example of the reflection of the tragedy in Casas Viejas, in the songs of the carnival in Cadiz during the Second Repub-lic. The songs reflect the folk character of the carnival, characterized by freedom in behavior and speech, and permissiveness, which led to the banning of carnivals throughout Spain in 1937. For the inhabitants of Cadiz, the carnival is part of a local identity that is difficult to ban, it was held unofficially, which made it possible to preserve this intangi-ble heritage. Carnival songs do not belong to traditional historiographic sources, but isolated examples of their research date from the 1950s. The songs of the carnivals in Cadiz of the period of the Second Repub-lic, the freest from censorship in the 20th century, have come down to us mainly orally. This is an example of a difficult legacy that needs to be restored, preserved and passed on to future generations. In this direc-tion, the research and popularization work in the field of historical memory of S. Moreno Telllo is indicative.

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Melnyk, Myroslava, Andrii Kasianenko, Olena Kapustianska, Mykola Krypchuk, and Volodymyr Fisher. "Humorous nature of carnival culture." Salud, Ciencia y Tecnología - Serie de Conferencias 3 (June 28, 2024): 1007. http://dx.doi.org/10.56294/sctconf20241007.

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Despite the widespread use of humour in carnivals, research in this area is limited. Therefore, this research seeks to address this gap and uncover the humorous nature of carnivals from a scientific perspective. The purpose of this research is to conduct a scientific analysis of the humorous nature of carnival culture, to clarify its origins and impact on society. The following methods were used to achieve the research purpose: observation, interviews, questionnaires, statistical method, and content analysis method. The research established that carnival is a significant mechanism for expressing social, political and cultural problems of society. This event is a kind of forum where citizens have the opportunity to express their thoughts, feelings and opinions on various aspects of life. The research confirmed that humour at carnivals is an essential means of communication and expression. It can acquire different forms, such as satire, parody and irony. These types of humour are used to expose social, political and cultural aspects through using ridicule, distortion and transformation of reality. Carnival humour has the potential to highlight the severity of problems and highlight the shortcomings of society. The research makes a significant contribution to the scientific understanding of the humorous nature of carnival culture. The results of the research will contribute to a deeper analysis and testing of concepts related to the impact of carnival and humour on modern society

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Bertrand, Gilles. "Venice Carnival from the Middle Ages to the Twenty- First Century." Journal of Festive Studies 2, no. 1 (November 30, 2020): 77–104. http://dx.doi.org/10.33823/jfs.2020.2.1.30.

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As with other carnivals around the world, the history of the Venetian Carnival sheds light on the complex dialectic between festivity and politics and more particularly on the growing need for political authorities to control the urban environment. This article provides a longue durée approach to carnival in Venice and unpacks the meaning of its successive metamorphoses. During the Middle Ages, Venetians used carnival as a defense strategy for their city, intended to ensure the cohesion of its various neighborhoods around a common destiny. In the fifteenth century, the legacy of public festivals for both rich and poor gave way to a more official celebration, which allowed Venice to outdo its European rivals. The civilized and policed expressions that were elaborated from the Renaissance until the eighteenth century gradually set Venetian Carnival apart from the exuberance and invertibility displayed by rustic carnivals in other parts of Europe. However watered-down and commodified present-day Venetian Carnival may seem, it continues to raise eminently political issues, most of which have to do with the appropriation of public space by private interests and the recreation of traditions for mass consumption.

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Mannia, Sebastiano. "MASKS AND CARNIVALS IN CONTEMPORARY SARDINIA." Вестник антропологии (Herald of Anthropology), no. 4 (52) (December 12, 2020): 29–44. http://dx.doi.org/10.33876/2311-0546/2020-52-4/29-44.

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The carnival occupies an important place in Sardinia, and attracts the attention of scholars with its continuously renewed meanings and functions. Furthermore, the institution of carnival is one of the cultural traits that has most oriented enhancement, research, re-proposal, revitalization of spontaneous groups and cultural associations: local traditions are re-learned and reworked along with specific identities and new forms of expression. In this sense, we can speak of new carnivals; cultural heritage in new economic and social contexts. In other words: today's representations and masks refer to an alleged tradition to respond to contemporary needs and requests. In the case of Sardinian carnivals, enhancement, recovery, re-proposal are usually spontaneous, endogenous processes, and they are, first of all, initiated to respond to «identity needs». The contribution tries to reflect on these issues, emphasizing the complexity of the carnival phenomenon in Sardinia. Keywords masks, carnivals, cultural heritages, Sardinia

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Успенский, Борис Андреевич. "Графский титул в контексте Петровской карнавальной культуры." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 2 (November 1, 2014): 15–23. http://dx.doi.org/10.21900/j.vivliofika.v2.748.

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“The Title of Count in the Context of Petrine Carnival Culture”The europeanization of Russia under Peter I had a conspicuously carnival form. Characteristically, the reforms of Peter I, which were intended to turn Russia into a European country, in many cases began with carnival sport. Carnavalization, re-naming—all this manifested a general cultural program, which reveals the artificial character of the modernization of Russia. Russian official life turned out to be extremely carnivalesque. Carnival became an element of Russian court life; participation in carnivals was obligatory. Together with new clothing, new language and new habits, new aristoricratic titles were adopted, such as count or baron. In the context of carnival ceremonies such titles had an ambiguous character. The author attempts to demonstrate that the title of count could be understood as buffonesque in the Petrine epoch.

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Marcelli, Andrea Mattia, Francisco Sousa, Josélia Fonseca, Leonor Sampaio da Silva, Marxiano Melotti, and Susana Goulart Costa. "The Unknown Carnival of Terceira Island (Azores, Portugal): Community, Heritage, and Identity on Stage." Sustainability 14, no. 20 (October 14, 2022): 13250. http://dx.doi.org/10.3390/su142013250.

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Terceira Island hosts a Carnival that enjoys unique features in the landscape of European folklore. It involves a major share of the resident population, it takes place on stages scattered all over the island, and it involves a blend of dancing, music, and acting. This paper presents the preliminary results of a collaborative project between native and foreign scholars, with the activist goal of providing Terceira’s Carnival with visibility in order to ensure its preservation. Documentary evidence and fieldwork activities undertaken in 2020 provide grounds to interpret Terceira’s Carnival as a multi-modal endeavour that nurtures social cohesion through mythopoesis, subversion of hegemonic roles, and the distribution of leadership to folk elites. As such, we argue that Terceira’s Carnival does not fit traditional scholarly views on European Carnivals. Additionally, we show that, thanks to its ability to trigger identity-making processes, this Carnival is a case for cultural sustainability: in fact, it ensures the preservation of communal bonds in face of changing global and regional social landscapes.

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Nolasco, Ana. "Dialogues with the Carnivalesque." Nka: Journal of Contemporary African Art 2024, no. 54 (May 1, 2024): 34–49. http://dx.doi.org/10.1215/10757163-11205435.

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Carnival emerges as an expression filled with nuances and paradoxes. While it challenges social norms and breaks established conventions, it is also vulnerable to governmental appropriation and its transformation into a tourist product. Examples of this duality can be seen in various forms, from the revered Afro bloc Ilê Aiyê in Bahia, Brazil, to the carnivals of Mindelo, Cape Verde; Bissau, Guinea-Bissau; and the Carnival of Vitória in Luanda, Angola. These celebrations highlight the power of Carnival to amplify marginalized voices and solidify national identities in areas of rich cultural diversity. Specifically, the Carnival of Quelimane in Mozambique stands as a testament to the celebration of local traditions, particularly from the Zambézia region. Broadening the lens to the “carnivalesque” universe, defined by its paradigm shifts, performance, humor, and a world of inversions, this article highlights the artistic contributions of figures such as Ayrson Heráclito, Alex da Silva, Kiluanji Kia Henda, and Filipe Branquinho. The works of these artists are analyzed as reflections of decolonial practices, intertwined with discourses of resistance against the exploitation of natural and cultural resources. Through their art, the ambiguous contours of Carnival are outlined, emphasizing its subversive and decolonial essence. In its choreography of celebration, resistance, and critique, Carnival establishes itself as a space for innovation, questioning, and sociocultural reflection.

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Kurochkin, Оlexander. "European Carnival: traditions and nowadays." Current issues of social sciences and history of medicine 30, no. 2 (May 13, 2021): 73–77. http://dx.doi.org/10.24061/2411-6181.2.2021.272.

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The problems of functioning of carnival traditions in the countries of Western Europe are examined in the given article. The ancient holidays of Dionysius and Saturnalia are the genetic ancestors, these were the periods when golden age seemed to be approaching the earth – the kingdom of universal equality and freedom. The carnival became a mass folk holiday with street processions, games, and theatrical performances in masks in the Middle Ages due to the development of European self-governing cities and the formation of the bourgeois class. Carnival theory is a field of active scientific discussion. While criticizing the vulnerable aspects of the carnival concept of M. Bakhtin, a representative of the international scientific community, they recognize the priority of the component structure of the public square laughter culture revealed by him. Inversion is the main idea of carnival illustrates change of the age, gender, social status of the participants of the festive event. One might receive a comprehensive knowledge of the international fund of carnival forms while analyzing its national variants. Taking this into account, the researcher might reveal the genesis and historical transformation of the most popular European carnivals, which are regularly performed in such cities as Venice, Cologne, Bensch, London. The European Carnival is the antithesis of a totalitarian holiday, which is characterized by excessive seriousness, false pathos, a stereotypical set of ideological slogans and clichйs. The experience of organizing carnival entertainment is interesting as an example of democratic festive communication, a bright artistic and aesthetic phenomenon, an example of successful self-organization of local communities.

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Unegbu, Christopher Elochukwu. "Assessing Cultural Management of Abuja Carnival." Nile Journal of English Studies 2, no. 3 (December 22, 2016): 28. http://dx.doi.org/10.20321/nilejes.v2i3.99.

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Culture is a major instrument for identifying a people. Over time, Nigeria’s diverse cultures have been celebrated with fun-fare and pageantry for tourism carnivals. The management process of such cultural celebrations becomes worthy of study. The concept of Cultural management is basically out to examine the influence of administration on a culturally-based festival like the Abuja carnival. The idea is to examine the past visions of the Carnival in comparison with the present challenges with the view of clearly solving such problems to ensure a more globally accepted product. The study employs the deductive and analytical methods of research to investigate the concept of Cultural management in Abuja Carnival. In the deductive method, we derive some vital information relevant to the study through interviews with some Artistic directors of the Abuja carnival. For the analytical method, we assess the cultural management through the review of related literatures, magazines and performance brochures. Among others, the study reveals that Abuja Carnival suffers serious funding challenge from its major sponsor which is the federal government of Nigeria. Also, despite having the same preparatory process, the approaches of the studied directors vary according to their perception of what a carnival should be which does not maintain the overall vision of the carnival. It also came to the fore that certain external factors such as national security challenge contribute to the factors militating against the targeted increase in foreign troupe participation in the Carnival. The study concludes that Abuja carnival have increased private sector sponsorship which will lessen the bureaucratic challenge from the major sponsor. Furthermore, private-sector driven sponsorship will accommodate healthy competition and encourage better result in revenue generation among others.

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Zervou, Regina, and Mina Dragouni. "Escaping Gentrification?" Anthropological Journal of European Cultures 31, no. 2 (September 1, 2022): 133–56. http://dx.doi.org/10.3167/ajec.2022.310208.

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Abstract Contemporary carnivals represent rather banal spectacles, harnessed by institutional control and stripped of their meaning as disruptive processes of revelry, expressivity and defiance. However, when organised at grassroots level, carnivals may retain their subversive character, revealing intentions to cross the limits of urban normality. By drawing on ethnographic data, this article explores the carnival of Metaxourgio in Athens, performed in a multicultural neighbourhood at the heart of the metropolis by a small group of young artists and creatives. Based on the notions of liminality and threshold, it analyses how the carnival creates a temporal universe that challenges mainstream perceptions of public space and Otherness, contests gentrification and seeks to maintain a sense of community in a world of ever-shifting boundaries of precarity.

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Kinser, Samuel C. "Carnival and Politics." Journal of Festive Studies 2, no. 1 (November 30, 2020): 41–76. http://dx.doi.org/10.33823/jfs.2020.2.1.45.

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The purpose of this article is to widen the ways in which Carnival’s political dimensions have ordinarily been discussed. What happens politically at Carnival should be placed in the social and cultural contexts in which a performance occurs, rather than being discussed only in terms of the performance’s publicized representations. This contextual mix should in turn be understood first as composed of competing and cooperating communities, but then also as having far-reaching and lengthily enduring structural roots. The author illustrates these propositions chiefly by means of an overview of Rome’s long Carnival history. There is space only to consider in detail two key sets of Roman Carnival sources, a verbal document written in the 1140s and two engravings made in the 1550s. The analysis of their social and cultural contexts leads to two other documentary groups, one stemming from fifteenth- and sixteenth-century Nuremberg and the other from the 1570s and 1580 in Romans, France. The long-term, structural thread knitting these disparate Carnival times and places together is the figure of the bear and his humanoid cousin the wildman.

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Sylvester, Meagan A. "Narratives of Resistance in Trinidad’s Calypso and Soca Music." Cultural and Pedagogical Inquiry 11, no. 3 (January 6, 2020): 105–16. http://dx.doi.org/10.18733/cpi29507.

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In Trinidad, the historical, socio-political and economic conditions which gave rise to the birth of Calypso are usually highlighted, in the existing literature, however, there is very little information regarding the oppositional lyrics of current Soca songs. By concentrating on the praxis of cultural resistance exemplified in the narratives of selected Carnival, Calypso and Soca songs, this article expands the existing discourse. Trinidad’s Carnival, post-emancipation, has important societal roles and functions. This article demonstrates that Carnival functions as performative rituals of resistance, individual and community awakening and identity development. Carnival’s established roles, functions and rituals are deliberately designed to disrupt the status quo.

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Liu, Yuan, and Peng Hu. "Research on the Current Situation and Countermeasures to the Predicament of the Development of Car Carnival Business Activities." Frontiers in Humanities and Social Sciences 2, no. 5 (May 17, 2022): 147–51. http://dx.doi.org/10.54691/fhss.v2i5.722.

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With the step-by-step advancement of the automobile power strategy, the integrated development trend of the automobile industry has continued to advance in-depth. The status and role of automobile culture have improved significantly. The successful attempt of the business model of the carnival takes the creation of the model of "professional events + carnivals" as the core, providing more possibilities for recreational car events that consumers can deeply participate in. This article intends to sort out the research results of the academic circle through the field of automobile culture and use the car carnival activities as a representative. On this basis, this article explores the business path for the development of the car carnival, builds a new format, promotes mutual benefit and Win-win, and provides suggestions and countermeasures for this.

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Simonič, Peter. "Utilisation of Carnival: Case of north-eastern Slovenia." Issues in Ethnology and Anthropology 2, no. 2 (September 3, 2007): 147–54. http://dx.doi.org/10.21301/eap.v2i2.9.

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Article/presentation focuses on two Carnivals, which can reveal socio-economic and cultural conditions and continuum of traditional culture. The first one is the most important Carnival in Slovenia named Kurentovanje in Ptuj. The second one takes place in Maribor, the capitol of the region of Štajerska. Article analyses these carnivals as an excellent cases of invented tradition transformed in the process of commercialisation and nationalisation.

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Harris, Max. "Carnival in Galicia Scattered Ants, Whipped Backs, and Hammered Plowshares." TDR/The Drama Review 44, no. 3 (September 2000): 154–70. http://dx.doi.org/10.1162/10542040051058654.

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Vigorous masking, dancing, music, drinking, and celebratory chaos mixing old and new animate Carnival in Portugal and northern Spain. Harris attended five Galician carnivals in 1998, reporting here on his experiences.

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Abrahams, Roger D., and Thomas A. Sebeok. "Carnival!" Journal of American Folklore 99, no. 392 (April 1986): 231. http://dx.doi.org/10.2307/539978.

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Schraufnagel, Lynda. "Carnival." Feminist Studies 13, no. 2 (1987): 339. http://dx.doi.org/10.2307/3177805.

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Colina, Paulo. "Carnival." Callaloo 18, no. 4 (1995): 736. http://dx.doi.org/10.1353/cal.1995.0117.

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Dasenbrock, Reed Way, and Wilson Harris. "Carnival." World Literature Today 60, no. 2 (1986): 351. http://dx.doi.org/10.2307/40141878.

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Greenhalgh, T. "Carnival." BMJ 327, no. 7410 (August 9, 2003): 349—a—349. http://dx.doi.org/10.1136/bmj.327.7410.349-a.

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Street, Alan. "Carnival." Music Analysis 13, no. 2/3 (July 1994): 255. http://dx.doi.org/10.2307/854261.

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Dias, Paola Lisboa Codo. "The appropriation of streets in Belo Horizonte by contemporary carnival blocks." Revista Brasileira de Estudos Urbanos e Regionais 17, no. 3 (December 20, 2015): 86. http://dx.doi.org/10.22296/2317-1529.2015v17n3p86.

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Carnival blocks (roving carnival street parties) in Belo Horizonte have emerged ever since the city was first founded in the late nineteenth century. However, during the 1930s, this kind of carnival manifestation went into decline and lost its importance. During the 1990s, Belo Horizonte became known for its quiet, peaceful streets during the carnival holiday period. However, the first decade of the twenty-first century marked a change in this process during the pre-carnival period, and 2009 marked the beginnings of a movement to re-establish street carnival blocks during the official carnival holiday period. Over the years, carnival in Belo Horizonte has undergone a complete transformation, moving from a decadent festival, marginalized and almost forgotten by most of the population to a very successful effervescent, exuberant celebration. Hence, this article aims to introduce discussions and some unusual perspectives regarding space in the contemporary metropolis with a reflective viewpoint regarding appropriation of the city by carnival celebrations.

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Adéoyè, Michael Adérèmí. "Inventing animate floats: transformation and interpretation in Nigeria’s Abuja Carnival." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 267–80. http://dx.doi.org/10.4314/ejotmas.v7i1-2.17.

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This study focuses on the technical process through which available materials and space are transformed into motif-based animate floats and desired landscapes for carnival performances. Carnival performances are often guided by underlying conceptual scripts which basically depend on the technical processes of theatre design as a major requirement in connecting the carnival performance with its audience and which has not received adequate attention from existing theatre scholarship. The study adopts Roland Barthes’ semiotic theory, Intertextuality as the framework for analysing the interplay of carnival performances, material objects, technical process of theatre design and the carnival audience. The research design combined case study and survey. Data were collected using in-depth interviews, key informant interviews and participant observation. Ahmed Yerima, whose works in carnival productions informed this study, was selected as a case study. The study concludes that the technical process of theatre design is central to carnival performances because it catalyses the underlying imaginative dramatic scripts into visual pictures and animate carnival floats, thereby eliciting meaning from the conceptual dramatic scripts to the carnival audience. Adequate attention should therefore be paid to theatre design as the process of transforming imaginative scripts into visible pictorial carnival floats. Keywords: Materials, Animate objects, Theatre design, Carnival performance, Transformation

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Silva, Zélia Lopes. "Deixa Meu Bloco Passar: Carnival Rhetoric and Its Meanings (São Paulo: 1968-1991)." Advances in Social Sciences Research Journal 10, no. 12 (December 17, 2023): 1–28. http://dx.doi.org/10.14738/assrj.1012.15924.

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This paper analyzes the carnival blocks exhibited in São Paulo city, from 1968 to 1991, based on their sambas-enredo [samba theme-songs] (or themes), following the rules of the formalization that took place in 1968 of carnivals and popular festivities in the city. This section ends with the inauguration of the Sambadrome in 1991, whose space became an icon for the parades of samba schools and blocks of Group 1. The period has its peculiarities in that it was marked by a dictatorial period (1968-1985) and a democratic one, which certainly had repercussions on the choice of parade themes. From a broader point of view, in addition to the changes in the country, there is an increasingly globalized world whose transformations affect carnivals, especially those practiced by the samba schools that exhibit parades marked by the monumentality of complex allegories and the chromatic explosion in the translation of the plots presented there, responding to media appeals for luxurious spectacles for their broadcasts. The blocks also underwent changes for their parades in the city streets. For this reflection, the sources used are the themes, the memories of the protagonists, the records of the Sociedade dos Amantes do Samba Paulista – SASP [Society of São Paulo Samba Lovers][1], which includes general information about the groups in the technical sheet, such as: the title of the block or school, the sambas-enredo (which bring each group together for the parades), the place chosen for each carnival performance; and news released by the press. Therefore, the question arises: what happens in the country and at Carnival during the period of this reflection? [1] On the Sociedade Amantes do Samba Paulista – SASP portal, information about these blocks (or schools) is precarious and incomplete, although the technical sheet contains several possibilities of data that would allow the profiles of these associations to be demarcated.

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Biase, Carmine G. Di, Italo Svevo, Beth Archer Brombert, and William Weaver. "Emilio's Carnival." Italica 79, no. 2 (2002): 267. http://dx.doi.org/10.2307/3656006.

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Horwood, Michael S. "Postcard Carnival." Leonardo 24, no. 4 (1991): 487. http://dx.doi.org/10.2307/1575533.

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Chung, Helena. "Carnival Games." Hopkins Review 9, no. 4 (2016): 486. http://dx.doi.org/10.1353/thr.2016.0096.

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Melnyk, George. "Octogenarian Carnival." Film International 15, no. 3 (September 1, 2017): 56–65. http://dx.doi.org/10.1386/fiin.15.3.56_1.

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Darcleight, D. "Concrete Carnival." Minnesota Review 2008, no. 70 (March 1, 2008): 33–45. http://dx.doi.org/10.1215/00265667-2008-70-33.

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Adamo, A. "The Carnival." Neurology 71, no. 4 (July 21, 2008): 299–300. http://dx.doi.org/10.1212/01.wnl.0000318219.30367.fb.

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Jaguaribe, Beatriz. "Carnival Crowds." Sociological Review 61, no. 1_suppl (June 2013): 69–88. http://dx.doi.org/10.1111/1467-954x.12054.

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Oaks, Greg. "Postmodern Carnival." American Book Review 29, no. 2 (2008): 21–22. http://dx.doi.org/10.1353/abr.2008.0069.

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Stazinski, John. "Traveling Carnival." American Book Review 32, no. 2 (2011): 30. http://dx.doi.org/10.1353/abr.2011.0028.

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Udo, Nsima Stanislaus. "Calabar Carnival." African Arts 55, no. 4 (2022): 32–41. http://dx.doi.org/10.1162/afar_a_00680.

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Sunandar, Agus, and Dharsono Dharsono. "CARNIVAL FASHION CREATIVITY AT MALANG FLOWER CARNIVAL (MFC)." ARTISTIC : International Journal of Creation and Innovation 1, no. 1 (March 27, 2020): 1–10. http://dx.doi.org/10.33153/artistic.v1i1.2996.

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Malang Flower Carnaval (MFC) which has worldwide, the results of the creation of these activities have been staged in various countries in the world. MFC has successfully entered the COE (Calender of Event) of the Indonesian Ministry of Tourism 3 times. The existence of this event supports and strengthens the predicate of Malang City as a Creative City in Indonesia. This success is interesting to do a study of how the fashion creativity that has been created from the MFC. This study uses a qualitative approach specifically Roland Barthes's fashion function theory and Edmund Burke Feldman's function theory of art. The results of the study showed that the creativity of the carnival dress appeared in the visualization of the shape of hair such as temples, gold ornaments, ornamental elements, and body gestures that symbolized the beauty of local dance. In addition, the carnival costumes can be a representation of local culture as an idea of creation. Implementation of a fashion carnival can encourage community creativity which ultimately increases public welfare.

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Tompsett, A. R. "Carnival Transformations: A Carnival Project In Cape Town." Caribbean Quarterly 45, no. 2-3 (June 1999): 71–76. http://dx.doi.org/10.1080/00086495.1999.11829619.

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Сиднева, Светлана Александровна. "The Carnival of the Salento Greeks in Martignano: Functions and Symbols." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 3 (September 25, 2021): 123–35. http://dx.doi.org/10.26158/tk.2021.22.3.010.

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Карнавал Салентийской Греции (il Carnevale della Grecìa Salentina) в коммуне Мартиньяно является примером традиции этноязыковых меньшинств Южной Италии, сознательно восстановленной с учетом довольно архаичных и специфичных для традиционной культуры черт. С одной стороны, событие имеет типичную для европейских календарных праздников, точнее, городских карнавалов, структуру и включает такие мероприятия, как представления с масками, парады повозок с аллегорическими фигурами, сожжение или разрывание масленичного чучела, символизирующего уходящий период года. С другой стороны, в зависимости от социально-политической номенклатуры ритуалы обретают дополнительные смыслы, новые функции, празднества обогащаются воссозданными или новоустановленными ритуалами. Источниками работы стали личные наблюдения и опросы во время праздника в феврале 2013 г., материалы официального сайта салентийского карнавала и из архивов Культурно-туристического парка им. Дж. Пальмьери в Мартиньяно, итальянские СМИ, итальянские туристические сайты, работы итальянских, греческих и русских исследователей. Основные цели исследования: показать степень присутствия «греческих» элементов в карнавале Мартиньяно и механизмы, которые используют организаторы мероприятия для придания ему «греческой идентичности»; определить место карнавала в культурно-экономической политике Италии, описать особенности идентичности греков Саленто. The Carnival of the Greeks of Salento (il Carnevale della Grecìa Salentina) in the commune of Martignano is an example of a revived tradition among the ethnolinguistic minorities of southern Italy that also takes into account archaic and traditional cultural features. On the one hand, the event has a typical structure for European calendar holidays and urban carnivals. It includes such carnival ritual constants as performances with masks, processions of carts with allegorical figures, and the burning or tearing of a Carnival effigy symbolizing the declining season. On the other hand, depending on the socio-political nomenclature, rituals acquire additional meanings and new functions, and the festivities are enriched with recreated or newly established rituals. The article’s main objectives are to reveal the degree of presence of Greek elements in the Martignano Carnival and the mechanisms that the organizers of the event use to refer to its Greek identity; to determine the role of the carnival in the cultural and economic policy of Italy; and to analyze the identity of the Greeks of Salento. It is based on the author’s personal observations during the holiday in February 2013; materials from the official website of the Salentine Carnival and from the archives of the Parco Turisctico e Culturale Palmieri in Martignano; Italian media; Italian tourist sites; and works by Italian, Greek and Russian scholars.

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Zervou, Regina. "Women and Carnival Space." Anthropological Journal of European Cultures 25, no. 2 (September 1, 2016): 73–93. http://dx.doi.org/10.3167/ajec.2016.250204.

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This article focuses on gender relations through the performance of carnival rites in a North Aegean island rural community. Based on qualitative research, it approaches the women’s use of public space during carnival and the changes under the influence of women’s emancipation since the 1970s. The percentage of women, especially young girls, participating in carnival rites has risen dramatically over the last decade. However, not all carnival public spaces are equally open to women. The article examines the way women try to impose their presence on the strictly male universe of the carnival space and especially the marketplace, the traditional and timeless core of the carnival rites, where only men can pronounce the obscene carnival language, fruit of the kafeneion male discourse and the reactions of the male community to the novelties brought by feminism into the village.

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Yta, Edisua Mbrab. "Objectification of women in carnival Calabar: an emerging paradigm." International Journal of Humanities and Innovation (IJHI) 3, no. 2 (June 30, 2020): 79–86. http://dx.doi.org/10.33750/ijhi.v3i2.78.

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A trend that is developing in Carnival Calabar is the objectification of women. Carnival Calabar is a festival that brings families together. Most of the participants are young people. What messages is Carnival Calabar selling to its various publics and what influence do these messages have on the young population? To answer these questions, two descriptive methodologies were employed in this study. The first was content analysis which comprised of pictures, participant observation and on-site participatory interviews. The second was the survey which comprised of focus group discussion. The following findings were made that the Carnival Calabar nude images portray women in her traditional role and sexual appeal to men. Secondly, Carnival Calabar's sexualized images often make girls lose their self-esteem. It is recommended that Carnival Calabar develop its unique brand of Carnival without following the Caribbean and other nations' models which one of its distinctions is parading nude female bodies. Carnival Calabar content should portray women constructively and in a wider variety of positive roles. It is recommended that more women should be involved as scriptwriters, producers, designers and in the position of decision making within the state’s tourism industry to influence the messages of women portrayed in Carnival Calabar.

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Wu, Yuchun. "Analysis on Marketing Strategies and Consumer Behavior during Online Shopping Carnival in China." Proceedings of Business and Economic Studies 4, no. 4 (August 27, 2021): 60–64. http://dx.doi.org/10.26689/pbes.v4i4.2387.

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As online shopping carnivals held by giant e-commerce platforms have achieved huge commercial success in terms of both, profit scales and brand building, the marketing strategies that the companies have adopted to promote their ideas and so swiftly influence consumer behavior have attracted wide attention. This article will first begin with the introduction on the phenomenon of online shopping carnival in China especially, the largest one which is the “Double Eleven” Global Online Shopping Carnival where there will be a brief discussion on its nature, history, scale, and huge influence on the Chinese society. Then, the discussion will be focused on the marketing secrets of its contagiousness and the reasons why everyone talks about it from three dimensions whereby it provides social currency, it is of practical value, and it evokes emotions. An analysis will then be done on the marketing contributors to its high sales volume of “Why people are participating?” with purchase motivation theory, social influence theory (SIT), and conformity theory. Finally, the passage will explore the definition of impulse buying as well as its impacting factors in online shopping experiences, and then explain the high incidence of this phenomenon during carnivals from two dimensions which include the low-price strategy and the stimulation from shopping environment. This article aims to help people understand online shopping and shopping carnivals better while the tips of promotion strategies and analysis on consumer behavior would provide a referential value for companies that are interested to raise certain brands’ publicity in addition to attract more consumers.

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Hammond, John L. "Carnival against the Capital of Capital." Journal of Festive Studies 2, no. 1 (November 30, 2020): 265–88. http://dx.doi.org/10.33823/jfs.2020.2.1.47.

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The medieval carnival, according to Russian literary scholar Mikhail Bakhtin, was a public festivity of excess in which people were free to violate social norms and subvert prevailing authority. Recent analysts have applied Bakhtin’s concept of carnival to contemporary political protests that incorporate a playful, culture-defying element. But the term has been used in multiple and contradictory ways. For Bakhtin, carnival is an expressive pattern pervasive in a culture and has no instrumental purpose (what I call “communal carnival”), while carnivalesque protest consists of specific practices with an explicit political agenda (“intentional carnival”). The Occupy Wall Street movement can be analyzed as both communal and intentional carnival. Protest movements use humor to subvert received doctrines; humorous performances are addressed to participants, the public, and repressive forces. Some critics regard carnivalesque performances as frivolous and demeaning of serious political causes. I conclude by discussing the effect of carnival on the Occupy movement.

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Edwards, Jennifer, and J. David Knottnerus. "Exchange, Conflict and Coercion: The Ritual Dynamics of the Notting Hill Carnival Past and Present." Ethnic Studies Review 34, no. 1 (January 1, 2011): 107–33. http://dx.doi.org/10.1525/esr.2011.34.1.107.

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This study investigates patterns of social relationships involving the Notting Hill Carnival. Two theoretical approaches are employed elementary relations theory and structural ritualization theory - to explain how the carnival has been strategically used in very different ways by various groups to accomplish their objectives. We suggest the Notting Hill Carnival is a special collective ritual event that has played a crucial role in three quite different structured arrangements involving coercion, conflict, and exchange since its beginning in Trinidad and subsequently in London. Four time periods where distinct changes in the nature of these relationships have occurred are examined: (1) 1800s Trinidad; (2) the Notting Hill Carnival from 1965-1970; (3) the Notting Hill Carnival from 1971-1989; and (4) the Notting Hill Carnival from 1990-present. This study contributes to the existing literature by focusing on how ritual and these types of relationships are intertwined in the production of the carnival. Implications of this research and possible directions for future research are also discussed.

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Snyder, Andrew. "“Carnaval em casa”." Journal of Festive Studies 3, no. 1 (January 4, 2022): 17–46. http://dx.doi.org/10.33823/jfs.2021.3.1.93.

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The carnival of 2021 of Rio de Janeiro was unprecedently cancelled due to the COVID-19 pandemic, and the city administration knew it would have to enforce the decision and convince residents to avoid celebrating despite the restrictions. Importantly, officials had the support of the samba schools and the blocos of street carnival, and the blocos organized a manifesto and campaign declaring that in 2021 carnival would be “at home.” While many scholars have shown how street music can mobilize revelers, this article shows that the blocos of Rio’s street carnival also have the capacity to demobilize them. Their campaign drew on familiar carnivalesque and Brazilian tropes to rationalize a biopolitical message of civic responsibility, respect for life, and resistance to virus denialism. They played on long-standing Brazilian tropes of carnival as an ephemeral moment whose presence is fleeting and soon experienced as saudade, or nostalgia. I explore various manifestations of the campaign, including its manifestos and arguments, as well as some of the alternatives that were offered, such as virtual carnival performances and new carnival songs adapted to the situation. By inverting their traditional demands to occupy the streets and instead limiting festivity to domestic space, the blocos framed their plea not as a departure from carnival tradition, but as fundamentally carnivalesque. I argue that classic carnival theories are best understood as performative rather than an explanatory; that is, it is how carnival practitioners deploy the carnivalesque tropes of inversion as elements of a persuasive discourse that is my focus.

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PRIZER, WILLIAM F. "READING CARNIVAL: THE CREATION OF A FLORENTINE CARNIVAL SONG." Early Music History 23 (October 2004): 185–252. http://dx.doi.org/10.1017/s0261127904000014.

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Holland-Toll, Linda J. "Bakhtin's Carnival Reversed: King's The Shining as Dark Carnival." Journal of Popular Culture 33, no. 2 (September 1999): 131–46. http://dx.doi.org/10.1111/j.0022-3840.1999.3302_131.x.

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Gaufman, Elizaveta. "The Trump carnival: popular appeal in the age of misinformation." International Relations 32, no. 4 (May 11, 2018): 410–29. http://dx.doi.org/10.1177/0047117818773130.

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This article argues that a Russian analytical paradigm of carnival culture can help explain the successful presidential campaign of President Donald J. Trump. Russian philosopher and literary critic Mikhail Bakhtin developed the notion of carnival culture while analyzing Francois Rabelais’ work and its connection to the popular culture of Renaissance. Carnival ethos stood in opposition to the ‘official’ and ‘serious’ church sanctioned and feudal culture, by bringing out folklore and different forms of folk laughter that Bakhtin denoted as carnival. Carnival culture with its opposition to the official buttoned-up discourse is supposed to be polar opposite, distinguished by anti-ideology and anti-authority, in other words, anti-establishment – the foundation of Trump’s appeal to his voters. This article examines the core characteristics of carnival culture that defined Trump’s presidential campaign from the start.

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Salzbrunn, Monika. "The Twenty-First-Century Reinvention of Carnival Rituals in Paris and Cherbourg." Journal of Festive Studies 2, no. 1 (November 30, 2020): 105–27. http://dx.doi.org/10.33823/jfs.2020.2.1.50.

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Carnival as a research object has been studied from a multiplicity of perspectives: folklore studies, European ethnology, social and cultural anthropology, history, sociology, etc. Each of these disciplines has enriched the literature by focusing on different aspects of the event, such as its participatory nature, its transformative potential (at an individual or collective level), and its political dimension broadly conceived. The present article reviews this scholarship and uses it to analyze the contemporary Parisian Carnival, which has tried to revive the nineteenth-century Promenade du Boeuf Gras tradition on a local and translocal level through its creative collaboration with the carnival of Cherbourg, Normandy. I argue that, through satire and other politicized carnival rituals, the recent protagonists of Parisian Carnival (Les Fumantes de Pantruche) have reinvented the festivities and influenced Norman Carnival, thus extending the boundaries of belonging in both cities.

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Anis Kumalasari, Faiza Faridatun Ni’mah, and Lisa Nur Riski Wulandari. "Analisis Konstruksi Sosial dalam Kegiatan Karnaval pada Masyarakat Muncar Banyuwangi." Student Research Journal 1, no. 6 (December 4, 2023): 148–55. http://dx.doi.org/10.55606/srjyappi.v1i6.816.

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Carnival is the right place to express people's creativity in expressing and showing their local culture, the people of Muncar hold a carnival festival not only to commemorate Independence Day but also to commemorate Suroan, carnival has become a tradition during Suroan, this is also a form of preserving traditional culture and introducing traditional culture to the younger generation. Carnival itself in social construction theory is seen as an event where people actively create and maintain their collective identity. This research highlights the participation of the local Muncar community in showing the symbols of their traditions as outlined in carnival activities and how this carnival is used as a form of suroan tradition. In this research, qualitative research methods are used which will explain the phenomenon descriptively, data obtained through observation and supported by previous research literature study.

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Journal articles on the topic 'Carnival'

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