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Doing she own thing: Gender, perform...

Dikobe, Maude Modimothebe.

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Doing she own thing: Gender, performance and subversion in Trinidad calypso.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Doing she own thing: Gender, performance and subversion in Trinidad calypso./
作者:	Dikobe, Maude Modimothebe.
面頁冊數:	218 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-02, Section: A, page: 0524.
Contained By:	Dissertation Abstracts International65-02A.
標題:	Literature, Caribbean. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3121460
ISBN:	9780496688111

Doing she own thing: Gender, performance and subversion in Trinidad calypso.
Dikobe, Maude Modimothebe.

Doing she own thing: Gender, performance and subversion in Trinidad calypso. - 218 p.

Source: Dissertation Abstracts International, Volume: 65-02, Section: A, page: 0524.

Thesis (Ph.D.)--University of California, Berkeley, 2003.

Women all over the world have been invisible. However, women in the calypso music scene have been doubly so. Despite being the subject of many calypsos by men, as well as contributing to calypso as singers and dancers since time immemorial, females in calypso until recently were only mentioned as a footnote in the history of calypso. When mentioned, women's roles are often downplayed as their talents and influence are often viewed as secondary to that of their male counterparts.

ISBN: 9780496688111Subjects--Topical Terms:

1019116
Literature, Caribbean.

Doing she own thing: Gender, performance and subversion in Trinidad calypso.
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245 1 0 $a Doing she own thing: Gender, performance and subversion in Trinidad calypso.
300 $a 218 p.
500 $a Source: Dissertation Abstracts International, Volume: 65-02, Section: A, page: 0524.
500 $a Chair: Margaret B. Wilkerson.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2003.
520 $a Women all over the world have been invisible. However, women in the calypso music scene have been doubly so. Despite being the subject of many calypsos by men, as well as contributing to calypso as singers and dancers since time immemorial, females in calypso until recently were only mentioned as a footnote in the history of calypso. When mentioned, women's roles are often downplayed as their talents and influence are often viewed as secondary to that of their male counterparts.
520 $a This study is an implicit challenge to the assumption that women were never active agents in the creation and development of calypso in Trinidad. One of the thrusts of this study is to interrogate how gender is constructed and subverted through calypso lyrics and performance. The dissertation investigates how women in calypso assert their identities by inserting their voices in the male dominated calypso music scene. It looks beyond analyzing lyrics but also pays attention to performance in order to demonstrate how female bodies in motion further complicate the seemingly stable gendered identities in calypso. In so doing, this study seeks to reinstate female voices in calypso, by arguing that although women have not received their due in both calypso and calypso scholarship, women have managed to make their voices heard amidst the muffling texts as well as sexist lyrics of calypsos by men.
520 $a The ethnographic research was conducted in Trinidad from August 2000 to March 2001 and archival research. Sources include interviews with female calypsonians, dancers and choreographers, as well as other people doing research or actively involved in calypso. This study also draws on notes from observations and conversations, newspaper clippings, photographs, tapes, compact discs and videotapes of some of the performances by the select artists.
520 $a This study gestures towards a new dominant order in calypso, one which will offer readers a fresh perspectives on how women calypsonians have managed to insert their own subversive voices in this otherwise male dominated art form.
590 $a School code: 0028.
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