Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
Jonkonnu is an Afro-Bahamian carnival-like festival held every Boxing Day, New Year's Day and summer time. Groups dance down streets and dress in paper-fringed costumes. The musicians often use traditional instruments such as goat skin drums and cowbells.
Bahamas -- North America --Nassau, New Providence Island

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
Sheet 15:6
http://ufdc.ufl.edu/AA00029404/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. The carnival costume, pictured in the center, is made with long and short white feathers and features highlights of black feathers. Gold ornaments decorate the costume which also has a ram’s head near the waist area. Next to this costume is an ornate peacock head gear which has been placed atop an armless statue with a human face. Slide labeled Trin. 12.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031205/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. This image shows the full view of two costumes. The partial view of two more costumes can be seen as well. One of the costumes is decorated with feathered props and fans. The costume also features geometric shapes and a stylized bird’s head, with the opening for the wearer at the base of the bird’s neck. Another costume is decorated with hands accompanied by a feathered head gear featuring a stylized human face. Slide labeled Trin. 11.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031201/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
Jonkonnu is an Afro-Bahamian carnival-like festival held every Boxing Day, New Year's Day and summer time. Crowds watch as Jonkonnu performers and musicians pass by.
Bahamas -- North America --Nassau, New Providence Island

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
Sheet 15:7
http://ufdc.ufl.edu/AA00029405/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
Jonkonnu is an Afro-Bahamian carnival-like festival held every Boxing Day, New Year's Day and summer time. Jonkonnu performers and musicians parade down a street pass crowds. Some are holding signs, one reads "Greeting Chipman Sop."
Bahamas -- North America --Nassau, New Providence Island

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
Sheet 15:9
http://ufdc.ufl.edu/AA00029407/00001

Éditeur(s) : Université des Antilles Études caribéennes
Résumé : The aim of this paper is to study Moroccan music festivals against the existing theories on globalization, while coming up with new concepts aimed at overcoming the problems often facing experts in popular culture and media studies who feel that globalization thesis lapses into fatal gestures of leveling, reductionism, and totalitarianism, especially when it tries to account for current discussions related to the circulation of artifacts and cultural texts. The general consensus has it that modern technologies have hugely altered the meaning and revolutionized the traditional functions attached to art and cultural industries. The grotesque circulation of western cultural artifacts is justifiably judged to be many times agonizing for theorists in cultural studies, linguistics and political science, etc who want to be sure that the unequal transmissions of products across the world will not harm local cultural, linguistic and economic capital of the less dominant other. Moroccan music festivals for instance are seen to be increasingly governed by a complex whirlpool of the far-too-melodramatic implications of today’s world global connections. In view of this, this paper, which borrows from data collected during between 2010 and 2011, will examine cultural industries, music festivals in general and the Essaouira festival in particular, in relation to world flows, while holding the argument that the appropriation of western artifacts locally has always been part of a not-so-novel process of mobility of what we call world cultural nomadictates (nomadic dictates). The paper gives a detailed definition of this concept and develops other new concepts (e.g. recurents, exclusives) related to the «glocal» face of culture and art in Morocco in an attempt to find an escape route outside the impasses of the globalization/cultural imperialism theses surrounding the study of cultural industries. To drive this idea home, we will open up the discussion at hand onto existing controversies around notions of place, authenticity, urbanism, tourism and consumption.
L'objectif de cette recherche est d’étudier les festivals de musique marocains en portant un regard critique sur les théories existantes de la mondialisation et en proposant de nouveaux concepts afin de surmonter les problèmes auxquels les théoriciens de la culture populaire et des médias se sont souvent confrontés. Selon eux, le concept de mondialisation sombre dans le réductionnisme et le totalitarisme, surtout lorsqu’il s’agit de la circulation des objets et des textes culturels. Un consensus général semble s’être développé autour de l’idée selon laquelle les technologies modernes ont considérablement altéré et révolutionné le sens et les fonctions traditionnelles de l'art et des industries culturelles. L'insolite diffusion des objets culturels occidentaux est à juste titre source d’angoisse pour les théoriciens des études culturelles, de la linguistique, et des sciences politiques qui veulent s'assurer que la transmission inégale des produits dans le monde ne nuira pas au capital local, culturel, linguistique et économique de l'autre (le moins dominant). Les festivals de musique marocains, par exemple, sont perçus comme étant de plus en plus tributaires des vicissitudes de la mondialisation actuelle. Dans cette perspective, cette recherche, s'inspire de données recueillies au cours de deux années de travail de terrain (2010/2011), et se penche sur les flux mondiaux de produits culturels qui mettent en interface les industries culturelles, les festivals de musique en général et celui d'Essaouira en particulier. Elle maintient l'idée selon laquelle l'appropriation des objets occidentaux par les communautés locales a toujours fait partie d'un processus de mobilité, qui n'est pas si récent, de ce que nous appelons les ‘nomadictâtes’ culturels du monde (dictâtes nomades). En explicitant la définition de ce concept, cette recherche développe d'autres concepts liés à la notion de glocalité de la culture et de l'art au Maroc. Enfin, elle suggère aussi une issue à l’impasse des théories de la mondialisation traditionnelles et celle de l’impérialisme culturel en particulier dans lesquelles l’étude des industries culturelles semble s’être emprisonnée. Pour ce faire, nous exposons le débat actuel sur les controverses autour des notions de lieu, d'authenticité, d'urbanisme, de tourisme, et de consommation.
Maroc

Droits : info:eu-repo/semantics/openAccess
urn:doi:10.4000/etudescaribeennes.5993
http://journals.openedition.org/etudescaribeennes/5993

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
Jonkonnu is an Afro-Bahamian carnival-like festival held every Boxing Day, New Year's Day and summer time. Crowds watch as Jonkonnu performers and musicians pass by. The Adderley building can be seen in the background.
Bahamas -- North America --Nassau, New Providence Island

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
Sheet 15:8
http://ufdc.ufl.edu/AA00029406/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. The carnival costume, pictured in the center, is decorated with peacock feathers, blue sequin, bells, and crystals around the head and neck sections. Slide labeled Trin. 14.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031208/00001

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. The carnival costume, pictured in the center, is decorated with colorful feathers and animal prints. To the left of this costume is an ornate peacock head gear which has been placed atop an armless statue with a human face. To the right of the costume is a head gear made with stylized snake heads with crowns. Slide labeled Trin. 13.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031207/00001

Éditeur(s) : UF Libraries UF Libraries ( Gainesville, FL )
Résumé : Digitized with funding from the Digital Library of the Caribbean grant awarded by TICFIA.
Caribbean
North America -- Haiti -- Département de l'Ouest -- Port-au-Prince Arrondissement -- Port-au-Prince

Droits : Copyright, Erich Kesse, 2008. May be used in accord with Creative Commons license allowing Attribution + Noncommercial + ShareAlike (by-nc-sa).

Résumé : Digitized with funding from the Digital Library of the Caribbean grant awarded by TICFIA.
North America -- Haiti -- Département de l'Ouest -- Port-au-Prince Arrondissement -- Port-au-Prince
Caribbean

Droits : Copyright, Erich Kesse, 2008. May be used in accord with Creative Commons license allowing Attribution + Noncommercial + ShareAlike (by-nc-sa).

Résumé : The slides were taken on collecting trips sponsored by the William L. Bryant Foundation, where books, music and art indigenous to the regions were gathered. The are organized by geographical location.
In Trinidad and Tobago, carnival celebrations begin after Christmas and peak during the Monday and Tuesday preceding Ash Wednesday. Costumed masqueraders and festival revelers partake in the two-day street parade, generally accompanied by soca, calypso, and steel pan music, before beginning the Lenten season. The National Museum and Art Gallery hosts a permanent ongoing exhibit of masks and costumes from past carnivals. In this image, there is a head gear labeled “King Kofricari,” a red elaborate costume, and a feathered costume featuring oxen horns and an ornately, stylized ostrich head. Slide labeled Trin. 10.
Trinidad and Tobago -- South America -- Port of Spain, Trinidad
Trinidad and Tobago -- Caribbean region -- Port of Spain, Trinidad

Droits : All rights to images are held by the respective holding institution. This image is posted publicly for non-profit educational uses, excluding printed publication. For permission to reproduce images and/or for copyright information contact Special Collections & University Archives, University of Central Florida Libraries, Orlando, FL 32816 phone (407) 823-2576, email: speccoll@mail.ucf.edu
CFM1972_01a
http://ufdc.ufl.edu/AA00031197/00001