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In tracing the controversy-ridden social history of the West Indian Labor Day Carnival in Central Brooklyn, the phrase ‘Zoo York’ emerged as a powerful descriptor of city life as a staged and enclosed spectacle, an ethos that is enunciated by Carnival. The term ‘Zoo York’ was coined by the hip-hop generation of the 1970s. Zoo York is said to have been inspired by the physical, literal zoo in Central Park, but might have been influenced by the major construction projects that enclosed the inner city of New York City decades prior. In this analysis, Carnival is shown to be a method and praxis for examining the racial and gender aspects of the city. This method places the West Indian Carnival within a larger narrative of enclosure that has been critical in the policing of Black cultural aesthetics in the United States and beyond.

Zoo York: race, gender, enclosures, and the policing of the West Indian Carnival