Paper Short Abstract:

In my presentation, I will interrogate the relationship of carnival to the concept of “carnivalesque” as given to us by Russian theorist Mikhail Bakhtin. I will examine the well-known carnival of Dunkirk, France. Although Dunkirk also promotes its carnival in the media, it remains a largely local (or at least regional) phenomenon. Its participants proudly proclaim it the most grass-roots carnival in France. The Dunquercoise boast that their carnival is the antithesis of that of Nice; that it is of, by, and for the people; that it is of the working and popular classes. The Dunkirk carnival is a rowdy affair. There are no floats; rather, it is a gathering of something like 50,000 people in costume. By all measures, the carnival would appear “carnivalesque” as described by Bakhtin. Despite Dunkirk carnival’s apparent flaunting of taboos, it can be reasonably hypothesized that Dunkirk carnival replicates power and gender structures, thus reinforcing rather than resisting or escaping them

Paper Abstract:

The Dunkirk carnival is a rowdy affair. Throughout the day, random groups of musicians plough their way through the crowd, caring little for anyone in their way. Another tradition involves men kissing other men, strangers, full on the mouth. This is described as having nothing to do with homosexuality. There is a great deal of profanity. Songs are joyfully sung by the crowd which describe “my aunts little dick,” “I love my brother’s dick when he shoves it in my ass:” and so on. Likewise, pastries depicting profane images are available. By all measures, the carnival would appear “carnivalesque” as described by Bakhtin.

Despite Dunkirk carnival’s apparent flaunting of taboos, it can be reasonably hypothesized that Dunkirk carnival replicates power and gender structures, thus reinforcing rather than resisting or escaping them. A performance approach to the carnival would see the benevolent city officials on high, tossing sustenance to the grasping “peasants” below. The entire event is physical, and a bit dangerous (people are warned that they may get hurt). Along with the wildly obscene lyrics to the songs, the carnival awards aggression, physical strength, and patriarchal hierarchy.

I am suggesting a post-bakhtinian paradigm for the study of carnival where we do not take carnival as necessarily, or essentially, resistant or oppositional; indeed, we may understand some instances as structural reinforcements of the established order OR RITUAL REINFORCEMENTS OF THE NORMATIVE STRUCTURES.. What I have described in fact functions as ritual, NOT JUST FESTIVAL,