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Jump Up!Caribbean Carnival Music in New York$
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Ray Allen

Print publication date: 2019

Print ISBN-13: 9780190656843

Published to Oxford Scholarship Online: September 2019

DOI: 10.1093/oso/9780190656843.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 27 September 2021

“We Jammin’ Still”

“We Jammin’ Still”

Brooklyn Carnival in the New Millennium

(p.235) 9 “We Jammin’ Still”
Jump Up!

Ray Allen

Oxford University Press

Chapter 9 offers a brief survey of recent developments in Brooklyn Carnival and the current status of its steelband and calypso/soca scenes. A description of Labor Day Carnival 2017, marking the 50th anniversary of the celebration, serves as a final coda. Carnival had survived in the face of a multitude of financial, political, and organizational obstacles for five decades, and New York’s Caribbean community was still jamming to soca and steelband music on Labor Day weekend. Over the previous decades, the press continued to portray the event as the city’s largest outdoor celebration, cementing Brooklyn Caribbean Carnival’s stature as an iconic New York cultural attraction. But what was once participatory ritual has increasingly taken on the aura of presentational spectacle. And while the Monday-morning pre-dawn J’Ouvert celebration, continued to operate, violence had marred the occasion in recent years. Nonetheless, Carnival music in Brooklyn has managed to survive, and in some corners flourished, despite a plethora of ongoing financial and logistical challenges.

Keywords:   Brooklyn Carnival, soca, steelband, Carnival, Caribbean community, J’Ouvert, participatory ritual, presentational spectacle

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