Chanting Down the New Jerusalem: Performing Revelation Calypso Style
This article presents an approach to the book of Revelation from the perspective of translation as embodied performance. The performance is based on a specific hermeneutical framework from the Caribbean perspective of creolité, resulting in the actual performance of two passages (“Babylon has fallen...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Sage
2015
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| In: |
The Bible translator
Year: 2015, Volume: 66, Issue: 3, Pages: 264-286 |
| Further subjects: | B
Perspective
B Translation B New Jerusalem B Revelation B creolité B Babylon B Caribbean B performance criticism |
| Online Access: |
Volltext (lizenzpflichtig) |
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| 520 | |a This article presents an approach to the book of Revelation from the perspective of translation as embodied performance. The performance is based on a specific hermeneutical framework from the Caribbean perspective of creolité, resulting in the actual performance of two passages (“Babylon has fallen” and “the New Jerusalem comes down”) in Papiamentu, a Creole language of the region. Thus, a modern Caribbean audience is challenged to engage with the text orally in relevant matters of oppression and the forging of a collective identity through the visions of John, the Seer. A brief sociocultural analysis of the book of Revelation and concrete performance criteria result in a basic script for audiovisual presentation. Ultimately, translation itself is a form of performance and performance is a form of translation. The preparation of the text and the actual performance open the door to a more concrete appropriation of the text through orality. | ||
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