No Telephone to Heaven
(2017-2018)
Creoleness is the “world diffracted but recomposed” (Bernabé et al 892), restoring “us to ourselves in a mosaic renewed” (Bernabé et al 891); in my video I have created carnivalizations of the land to “reimagine it as a dynamic process of becomings and beginnings” (Braziel 112) in “luminous poetical frenzy” (Condé 86).
The land refuses a “static Eden [and] a fixed paradise,” manifesting itself in plural, flowing, dynamic, and creative embodied resistance (Braziel 123), countering Western imposed rational order (Braziel 122). Resistance “characterizes the history of Caribbean images” (Pujols 327) creating landscapes that are “not passive receptacles but vibrant and autonomous beings” (Braziel 116).
Mountains are sites of historic environmental opposition (DeLoughrey et al 3), through the carnivalization of the land the mountain becomes a performance of internality masked by externality, projecting the Caribbean’s subaltern resistance, the land convulses outwards mimicking movement of carnival or the motions of steel pannists. The musicality and multivocality of the landscape assert that it is alive and pulsing (Maes-Jelinek 248). Creative popular resistance is symbolized by the steel pan, calypso, and carnival, dancing through the landscape in polyphonic creative disorder and poetic chaos (Baron et al 4).
The images and sounds are fragmented and reassembled, “spiraling towards chaosmos, depart[ing] from an ordered cosmos” (Braziel 112), demonstrating the creativeness of Caribbean nature through the “free motion of elements in outer and inner landscapes” connecting the land with interior vision, creating a renewed “multi-layered composition of reality” (Maes-Jelinek 254).
