Time Out or Time In? The Urban Dialectic of Carnival

Riggio, Milla Cozart

doi:10.4324/9780203646045-02

Cited by 7 publications

(4 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…This scalar quantifier is considered of tempo-spatial nature and not spatial alone since it conflates time frames by linking future results to present spatial “varied” activities. “More,” thus, negotiates a “festive sense of time” which “resists the rational assumption that time marches along a never-varying path” (Riggio, 2004, p. 23). Space seems to grow and time seems to diminish inside the NAC.…”

Section: Discussionmentioning

confidence: 99%

“…Accordingly, the boundaries between the present and the future are erased, offering an alternative vision of the future that is determined by current spatial practices. Resembling the carnival temporality, time inside the NAC is promoted by the billboards as a “flexible commodity, to be valued, used, and spent in individual ways” (Riggio, 2004, p. 23).…”

Section: Discussionmentioning

confidence: 99%

See 1 more Smart Citation

Commodification of the Egyptian New Capital: A Semio-Foucauldian Landscape Analysis

Fawzy

2021

Space and Culture

View full text Add to dashboard Cite

Signs in the urban landscapes are never neutral; they always enact connections to power relations and social hierarchies. By examining the New Administrative Capital of Egypt’s (NAC) advertising billboards, the current study relates itself to the literature of Linguistic Landscape (LL). The study examines the NAC from a semio-discursive perspective. More specifically, it relies on the tools of Semiotic Landscape (SL) to discuss how the landscape of Cairo is represented as a heterogeneous contested space, and how the semiotic resources of its real-estate billboards epitomize Foucauldian principles of heterotopia. The study maintains that the different semiotic resources deployed in the NAC billboards commodify urban space by indexing heterotopic power relations. It is found that spatial commodification of the New Capital is embodied in two heterotopic tropes: “silent” space and “carnival” space. That is, the NAC billboards promote the consumption of the urban space by selling the heterotopic experiences of silence, and carnival-like tempo-spatiality. The study has found that the space of the NAC is semiotically presented in the landscape of Cairo as heterotopic through promoting “different” spatial experiences. To put it differently, the NAC billboards are perceived as antithesis to their landscapes of emplacement, the landscape of Cairo.

show abstract

Section: Discussionmentioning

confidence: 99%

Section: Discussionmentioning

confidence: 99%

Commodification of the Egyptian New Capital: A Semio-Foucauldian Landscape Analysis

Fawzy

2021

Space and Culture

View full text Add to dashboard Cite

show abstract

“…In prominent writings on festivals (see Nietzsche 1956;Bakhtin 1984;Mbembe 2001;Riggio 2004), there are always moments in which the majesty of state-sponsored spectacles is refuted through opposite spectacles of obscenity. These acts of imploration reflect the spirit of the ongoing critiques surrounding festivals in Morocco, some of which are picked up by Said Graiouid and Taieb Belghazi who put the accent on The Justice and Development Party (PJD)'s take on cultural productions.…”

Section: Festivals Between Majesty and Obscenitymentioning

confidence: 98%

Po(o)pular culture: measuring the ‘shit’ in Moroccan music festivals

Maarouf

Driss²

2016

Journal of African Cultural Studies

View full text Add to dashboard Cite

Marginalized groups and individuals in Morocco are subject to modes of representation, in which the images and symbols of dirt used to describe/treat them as bouzebal (Bouzebal is derived from the Standard Arabic word 'Azbal' (trash) and the darija term 'zbal' (also trash). Azbal is a plural word for zibala. It is usually used to refer to literal waste and things that are no longer needed. Zbal is polysemic in that it can also be employed to indicate junky beings (no longer needed in society) or people with low moral standards. Bouzebal, however, is a strictly pejorative word used to denote a person with a lowly social status. It is also used to label members from the same social class whom one deems to be inferior to oneself.) loom large. The label bouzebal (meaning social junky) is a complex term that was initially meant to pin down socially disadvantaged people as trashy types that are deeply entrenched in filth. This article studies these and similar modes of representation in relation to the culture of festivalization in Morocco. The underrating of local artists at the expense of Western superstars, for instance, has prompted heated debates in Morocco about how festivals are maintainers of such unhealthy acts of separation. Festival agents are young and active festival practitioners who find in the festival an opportunity to negotiate power and make hints at tabouzabalit (the state of being bouzebal) by way of discussing serious local plights (i.e. corruption, poverty, unemployment, and tyranny). We will also see how cartoonists articulate this lowliness through images of dirt, waste, and excrement to underline the decadence underneath the images of majesty promoted by the state's 'spectacles of joy'. IntroductionFestivals in Morocco transfuse a glamorous image about Morocco as a seat for modernity, openness, multiculturalism, and tolerance. However, while it is easy to comprehend the role of festivals in achieving the scheme of splendour as meta-events, it remains hard to observe the symptoms, stories, and sceneries of tension permeating them that reverberate with the anxieties of the people. The presence of marginal audiences and actors within elitist festivities results in the generation of unpredictable and non-homogeneous theatrical situations that reflect the interests of the people. I suggest that by analysing the above, we can come to grips with the schemes marginal subjects contrive to rise beyond passive consumption, while negotiating the legitimacy of the state and its elitist cultural products from within.Despite the seeming majesty of the festival, festival agents sometimes purposely put on lowly looks, and make sure to be spotted everywhere. In so doing, they realize a twofold goal: to strategically essentialize themselves as junkies and to activate the imagination of the onlooker so s/he associates these symptoms of decadence directly with the rottenness of the system. As we are going to see, these political messages and acts of sociocultural mobility are usually raised within an air of theatr...

show abstract

“…"Jumping up," a synonym for "playing mas," means dancing in the street in a masquerade band during Trinidad Carnival, a massive series of celebrations that has provided the model for at least 50 West Indian style Carnivals throughout the world. For information on either Hosay or Carnival, see Riggio (1998Riggio ( , 2004Riggio ( , 2005Riggio ( , 2007Riggio ( , and 2008; for Hosay, see also Korom (2003).…”

mentioning

confidence: 99%