A semiotics of comedy: Moving figures and shifting grounds of Chapayeka ritual clown performance

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A semiotics of comedy: Moving figures and shifting grounds of Chapayeka ritual clown performance. / Keisalo, Marianna Päivikki.

In: HAU: Journal of Ethnographic Theory, Vol. 6, No. 2, 31.10.2016, p. 101-121.

Research output: Contribution to journal/Conference contribution in journal/Contribution to newspaperJournal articleResearchpeer-review

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Keisalo, Marianna Päivikki. "A semiotics of comedy: Moving figures and shifting grounds of Chapayeka ritual clown performance". HAU: Journal of Ethnographic Theory. 2016, 6(2). 101-121. https://doi.org/10.14318/hau6.2.010

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Author

Keisalo, Marianna Päivikki. / A semiotics of comedy: Moving figures and shifting grounds of Chapayeka ritual clown performance. In: HAU: Journal of Ethnographic Theory. 2016 ; Vol. 6, No. 2. pp. 101-121.

Bibtex

@article{8f44835faf6549bc86db01277ed13f6d,
title = "A semiotics of comedy: Moving figures and shifting grounds of Chapayeka ritual clown performance",
abstract = "This article develops an analytic approach to comedic performance by examining the performance of the Chapayeka ritual clowns as a series of semiotic shifts and reversals: the Chapayekas play with images and contexts, introducing unpredictable figures to effectively shift the grounding conditions of their own performance. The Chapayeka performance combines both conventional and set forms as well as improvised and newly invented ones. As they shift from convention to invention (in the sense of Roy Wagner), the Chapayekas emerge as “symbols that stand for themselves.” This capacity allows the Chapayekas to function as both symbolic figures in the ritual and self-contained contextual grounds, which enables them to produce further signs and manipulate figure-ground relations within and beyond the ritual. The analytic view developed here is informed by the complex and multilayered semiotics of comedic performance; this exploration offers a novel perspective on how comedic performances create and wield semiotic force through establishing grounds and evoking figure-ground relations.",
keywords = "Yaqui , Ritual Clowning, Chapayekas, Humor, Performance , Semiotics",
author = "Keisalo, {Marianna P{\"a}ivikki}",
year = "2016",
month = oct,
day = "31",
doi = "10.14318/hau6.2.010",
language = "English",
volume = "6",
pages = "101--121",
journal = "HAU: Journal of Ethnographic Theory",
issn = "2049-1115",
publisher = "University of Chigago Press",
number = "2",

}

RIS

TY - JOUR

T1 - A semiotics of comedy: Moving figures and shifting grounds of Chapayeka ritual clown performance

AU - Keisalo, Marianna Päivikki

PY - 2016/10/31

Y1 - 2016/10/31

N2 - This article develops an analytic approach to comedic performance by examining the performance of the Chapayeka ritual clowns as a series of semiotic shifts and reversals: the Chapayekas play with images and contexts, introducing unpredictable figures to effectively shift the grounding conditions of their own performance. The Chapayeka performance combines both conventional and set forms as well as improvised and newly invented ones. As they shift from convention to invention (in the sense of Roy Wagner), the Chapayekas emerge as “symbols that stand for themselves.” This capacity allows the Chapayekas to function as both symbolic figures in the ritual and self-contained contextual grounds, which enables them to produce further signs and manipulate figure-ground relations within and beyond the ritual. The analytic view developed here is informed by the complex and multilayered semiotics of comedic performance; this exploration offers a novel perspective on how comedic performances create and wield semiotic force through establishing grounds and evoking figure-ground relations.

AB - This article develops an analytic approach to comedic performance by examining the performance of the Chapayeka ritual clowns as a series of semiotic shifts and reversals: the Chapayekas play with images and contexts, introducing unpredictable figures to effectively shift the grounding conditions of their own performance. The Chapayeka performance combines both conventional and set forms as well as improvised and newly invented ones. As they shift from convention to invention (in the sense of Roy Wagner), the Chapayekas emerge as “symbols that stand for themselves.” This capacity allows the Chapayekas to function as both symbolic figures in the ritual and self-contained contextual grounds, which enables them to produce further signs and manipulate figure-ground relations within and beyond the ritual. The analytic view developed here is informed by the complex and multilayered semiotics of comedic performance; this exploration offers a novel perspective on how comedic performances create and wield semiotic force through establishing grounds and evoking figure-ground relations.

KW - Yaqui

KW - Ritual Clowning

KW - Chapayekas

KW - Humor

KW - Performance

KW - Semiotics

UR - http://www.haujournal.org/index.php/hau/article/view/hau6.2.010

U2 - 10.14318/hau6.2.010

DO - 10.14318/hau6.2.010

M3 - Journal article

VL - 6

SP - 101

EP - 121

JO - HAU: Journal of Ethnographic Theory

JF - HAU: Journal of Ethnographic Theory

SN - 2049-1115

IS - 2

ER -