Abstract
The paper questions the role of the transformative artist within Caribbean popular culture with reference to the costumed “Mas” bands in Trinidad Carnival, using Fanon’s argument on the role of the artist as the theoretical base. Using the documentary “The Minshall Trilogy: A Modern Fable as Street Theatre” as its source of visual and contextual data on these bands, the paper examines how the artist, Peter Minshall, takes the traditional folk worldview of an agrarian 19th century Trinidad and converts it into a late 20th century discourse on industrial development, materialism, moral vales and development.
Full Text 
Sign-in/Register to access full text options
Sign-in/Register to access full text options 
Published version (
Free)
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
