The American parade has been investigated in terms of how it transforms urban streets into a place where collective memory and identity are consolidated along lines of class, race, ethnicity, and gender (Ryan; Roach). However, the role of the rural parade has heretofore seen little critical analysis. Since any conception of the urban relies on the rural as a foil, we wonder how the American parade, existing in both urban and rural landscapes, promotes and challenges the unchecked expansion of cosmopolitan culture and dominant ideology. This article examines how the parade genre functions as a civic ritual that seeks to unite individuals through nationalism and consumerism, yet may paradoxically become a stage for political dissent. By juxtaposing performances from the Bread and Puppet Theater at the Fourth of July Celebration in the rural town of Cabot, Vermont, and Tony Sarg’s “upside-down marionettes” in Macy’s Thanksgiving Day Parade, I theorize how conventions of the parade work to inculcate spectators with a sense of group identity. I argue that these same conventions lay the foundation for political dissent, via a process that José Muñoz calls disidentification, to propose (and at times enact) alternatives to dominant ideology.

中文翻译：

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游行中的位置：游行类型中的消费主义和身份不认同

美国的阅兵式已被研究如何将城市街道转变为集体记忆和身份根据阶级、种族、民族和性别的界限得到巩固的地方（瑞安；罗奇）。然而，迄今为止，乡村游行的作用鲜有批判性分析。由于任何城市概念都依赖于乡村作为衬托，我们想知道美国游行，存在于城市和乡村景观中，如何促进和挑战世界文化和主流意识形态的不受限制的扩张。本文探讨了游行类型如何作为一种公民仪式发挥作用，通过民族主义和消费主义寻求团结个人，但可能矛盾地成为政治异议的舞台。通过将面包和木偶剧院在佛蒙特州卡博特乡村小镇举行的七月四日庆典上的表演和梅西百货感恩节大游行中托尼萨尔格的“颠倒木偶”并列，我从理论上分析了游行的惯例如何对观众进行灌输具有群体认同感。我认为，这些相同的惯例为政治异议奠定了基础，通过何塞·穆尼奥斯 (José Muñoz) 称之为身份不认同的过程，提出（有时是制定）主流意识形态的替代方案。