Nunley, chapter 3.

     The most interesting terms applied in chapter 3 are the “Mascaraed Mix-up” representing “a Callaloo of global dimensions” (p. 98), a bowl of soup containing a variety of cultures, seasoned each year with designer’s innovations derived from the sharing of past visual and sound aesthetics. The designers, (or cooks of the soup) represent an interstitial continuum, performed by tens of thousands of bodies representing a continuum of cultures abroad. As Carnival aesthetics evolve, it continues to measure success “aesthetically” along with the ability to represent “unity and identity” (p. 85). Celebrating cultures unified is beautifully interesting as it is primary to my personal goals, however, Nunley’s overall description brought forth a transpersonal visual aesthetic to mind, which metaphorically represents some chronotropes of Gilroy’s in chapter one, The Black Atlantic as a Counterculture of Modernity.

     Gilroy’s discourse is metaphorically represented as a “ship on the Atlantic”, removed from time and space searching for “other claims”, “beyond cultural limitations” applied by “ethnocentrism and nationalism” bias. Furthermore, Gilroy’s ship as “a living, micro-culture, micro-political system in motion” searching for authentic cargo, may “find key ideas” in the “Callaloo” soup of the Trinidad Carnival. (Gilroy, p. 4) Nevertheless, the complex conundrum of the “Mascaraed Mix-up” is representative of transcultural aspects, emphasizing Gilroy’s “conceptual problems” while searching for authentic “African…sources”…”triditions”…and ”themes” seemingly lost through African diaspora (p. 94).

      Nunley’s chapter introduces several authentic African traditions and/or sources in the Callaloo soup, many of which have become hybrid, but I think perhaps there is one aspect existing timeless, at the heart of the Carnival, through mimesis, a commissure that everyone shares in unity. The rhythm of music in the performances guiding dances of rejoicing. After “upper classes condemned” African drumming as “disruptive” (p. 114) the first and clearest form of mimesis as a “found” object of nature were the “bamboo drums”, and later, multiple other “found” objects such as “tins”, “cans”, and “oil drums” (p. 115). Regardless of the instruments used, some music may represent a seamless representation of African authenticity for the cargo of Gilroy’s ship. In addition, according to William Alves, author of Music of the Peoples of the World 3^rd ed. 2013., “call-and-response…is very common in African music.” (p. 49)                

Nunley reading

One particularly interesting aspect of the reading was the discussion of Carnival costumes as evidence of an amalgamation of cultures. Influences from both European cultures and colonized countries were obvious throughout Carnival costumes. Nunley mentions the idea that Carnival brought unity and identity to Trinidad, although it was a country that was previously characterized by “racial tension, cultural bias, and religious bigotry.” (p 85) This inclusion of aspects relevant to European identity, as well as aspects relevant to Caribbean identity in Carnival costumes results in many questions regarding identity of Trinidad citizens. It reminds me of the idea of double consciousness that Gilroy discussed. The black citizens of Trinidad obviously have an understanding of and relation to European culture and identity, yet are they also affording themselves some level of agency in defining their own identity as it relates to their African heritage? Because of the inclusion of European and African influences, are Carnival costumes one example of Gilroy’s idea that there is no way to explicitly define an identity specifically linked to only one culture? Considering colonization and Europe’s influence of Trinidad, could Carnival reveal an example of Gilroy’s argument that identity cannot be succinctly and simply separated by country or culture? Is this idea also relevant when discussing Chinese and East Indian influences, in addition to other influences mentioned in the reading, such as images brought back to Trinidad from Yucatan, Mexico?

It appears that Carnival reveals, through its costumes, numerous influences from different cultures and countries. I’m curious to understand how the performers interpret the general idea of incorporating multiple influences, rather than attempting to define a singular Trinidad identity. Additionally, the country has become more unified through Carnival. How has the combination of influences created that new level of unity?

Regis Article

I found Helen Regis’ article insightful in that it explained to the reader what Second Line parades entail, in which the author defines as, “massive anniversary parades” (p. 755). Regis goes more into depth on what these parades can consist of and how there is not really an audience, but instead the viewer’s role is a participatory one (p. 757). However, what I find the most interesting point in Regis’ article is the claim that many of these parades are performed in working class black neighborhoods, away from the curious eyes of the tourists. Actually, many white residents of these areas have little to no understanding of second line parades (p. 756). Regis uses the example of the funeral scene in a James Bond movie to explain how a form of Second Line has been popularized, even commodified, for tourists. I find this a thought-provoking concept that Regis suggests; this idea of the commodification of black culture. Regis supports this concept in the statement, “…the cultural productions of the urban black working-class communities are increasingly featured as the principal asset distinguishing New Orleans from other tourist destinations and conference centers. Creole cuisine, historic architecture, blues, gospel, rhythm and blues (R&B), and, above all, jazz have long drawn travelers from throughout the world to New Orleans. That the primary producers of these sensual commodities are members of a low-income black population in a black-majority city has rarely been examined from a critical perspective” (p.  754). Although this commodification of black culture is problematic and there should be a lengthy discourse, I think it is notable that Regis does mention that these parades are very influential in the black community and not only “produce neighborhoods,” but participants also “become owners of the streets” during these performances (p. 756).  

Regis Reflection

            Regis’s discussion of the second line parades in New Orleans touches on some of the methods and intents particular to performance art as we have studied in class, and how it has redefined the traditional perception of art. An important aspect is the inability to become a passive viewer – either you join in, wherein you experience the blurred “line” between audience and performer, or, because of the massive crowd surrounding the club and band, you won’t be able to truly witness the parade at all from a distance, which Regis contrasts with parades of a white European tradition (i.e., Mardi Gras and St. Patrick’s Day). (755)

            Through “memory tactics,” the second line parade redefines the way in which lives are memorialized. Regis contrasts the staid monuments memorializing wealthy capitalists against what Pierre Nora calls lieux de mémoires, “spaces actively transformed by popular action into places of memory that concretize popular historical consciousness. … Seemingly temporary, or fleeting, the memorials of second liners endure in the collective memory of participants.” (762-3)

This kind of active transformation and the reliance on memory have made the second line parades susceptible to constant evolution. Regis acknowledges this in the funeral for D-Boy, highlighting the way the younger generation paid their respects in a “manner [that] challenged the formality and pious respectability of the older generation, which had been dominating the wake thus far.” (760)

            Another important aspect of the parades to Regis is their modes of defiance against the normalized hegemonic culture. While participating, the author noticed the marchers “improvise on standard lyrics” and teenagers hit street signs as “musical appropriations of space,” physically and symbolically claiming the streets. (757)

Second Line

            The most interesting aspect of Regis’ article in terms of what we’ve learned in class thus far was introduced on page 755. Regis discussed the idea that there is no clear distinction between performer and audience. In most performance art that we’ve learned about, there is a clear delineation between performer and audience, even if the audience is encouraged or even forced to participate at some point. With the New Orleans second line, anyone who may possibly be seen as an audience member is immediately transformed into a participant or judged for not participating. Simply observing the performance is not an option. Because one significant aspect of the parades is solidarity in the black community with special regards to particular groups, could refusal to participate perhaps appear to be either a refusal to accept the legitimacy of the parades or a complete disagreement? For example, Regis mentioned a particular parade that blocked preparation for Mardi Gras, which is more of a white celebratory parade. Could the inclusion of this happening perhaps hint at the idea of race relations and also make clear that although there is no obvious audience, the performers do have to meet specific criteria. Is there an underlying tone in the article that hints at the idea that because these parades are an effort to promote blackness or comment on issues specific to the black community, that those who are not black or in support of the parades are completely excluded from the parades. The idea that the parades take place on back streets and roads that are significant to the black community, rather than main roads also lends to the idea that Regis is presenting a specific focus on blacks utilizing these parades to completely focus on blacks and issues specifically relevant to blacks and intentionally ostracizing whites.

Reflections on Goldberg: Living Art c. 1933 to the 1970s

Jessica Wildman

Performance artists post 1959, specifically after Allan Kaprow’s 18 Happenings in 6 Parts were creating work that was, “thrown together by the press under the general heading of ‘happenings’” (p 132). I think the manifesto dictated movements like Futurism and Dada that preceded performance art of this time misguided critics and perhaps audiences into the preconceived notion that all art must be defined and grouped as it had been in the past. This “grouping” occurred, “despite the very different sensibilities and structures of these works” (p132). Is it commonplace in the art world to categorize and classify work? Is this a matter of digestibility for critics and audiences?

As the chapter’s title suggests, “Living Art c. 1933 to the 1970s”, discusses a time when performance artists used aspects of everyday life in their work; however, the artists working during this time had different motivations for turning to performance. Goldberg explains that Jim Dine’s performances were an “extension of everyday life”, while Red Grooms, “considered his performances essentially as theatrical events”, and alternatively Al Hansen used performance as distancing itself from, “the complete absence of anything interesting in the more conventional forms of theatre” (p128).  Collaboration remained an important constituent of many of these seemingly disparate artists and their performances, and as Goldberg explains that they had New York City in common (p 132).

I found it particularly interesting to compare the ideas of Kaprow versus those of Carolee Schneemann. In regard to his performances Kaprow explained, “the actions will mean nothing clearly formulable so far as the artist is concerned”. He also expressed that “happening” as a term was, “something spontaneous, something that just happens to happen” (130). Schneemann on the other hand, sought meaning in all places or sites where performances were to happen, all people, and materials. I agree that these elements all have the power to become conceptually charged and referential when considered interdependently in a performance. Of her performance Meat Joy Schneemann explained, “taking substance from the materials…means that any particular space, any debris unique to Paris and any “found” performers, would be potential structural elements for the piece” (138).

Dancers became even more involved in performance art during this time. It was especially interesting to read that many dancers who had started their careers in a traditional context had found the art world to be, “more responsive and understanding” (p 138). The collaboration between professional dancers and performance artists seemed to result in a symbiotic relationship between the two that ultimately expanded the performance art field. The Dancers’ Workshop Company took their performances to an outdoor setting, and I wonder, as we discussed in class, is this yet another rendering of primitivism to modernism?