Ethnical influences of the mas have added to the aesthetic form of the festival. African artistic sources are present although their original form may have changed. A common theme in Carnival bands is that of Obeah, an African medicinal system. The use of motifs such as sculls, bones, shells, feathers and fiber skirts are reminiscent of African dress and are used in African masking traditions. African tribal themes are also portrayed and this requires the use of body paint, coiffures and shields. In 1984, Peter Minshall designed the costume of the “The Callaloo King” which was the reinterpretation of the masks of the African nations of Mali and Borkino Faso. At present, there are various African linked figures that are pa

The creativity of the mas is reflected in the use of colour, choice of texture and scale of the costume. The application of colour is of paramount importance to the mas as it is used to emphasize themes and the mood of the costume. In Lil Hart’s 1986 band “Islands in the Sun” colour was employed to indicate the character of each island. For example, silver was used to show that Jamaica was the island of springs, whereas, yellow-brown was chosen to give Grenada its nutmeg colour. In creating a genuine costume, emphasis must be placed on the texture of the mas. Costumes may sometimes be sectioned off into fuzzy, soft and hard surfaces. The texture chosen gives the mas a particular look and thus creates a more realistic approach and understanding of the costume. In addition, special mention must be given to the scale of the costume. It has been argued that the costumes are becoming too large for the performer, so much so, that he seems to have disappeared in it as opposed to being one with it and becoming the character. Errol Hill has mentioned that the size of the costume seems to “totally obliterate the person who wears it” The counter argument is that the costumes are made according to the scale of the event, the savannah. David Picou’s argument, which can be found in The Social and Economic Impact of Carnival: Seminar Papers, states “the size of the costume is…dictated by the fact that they are being shown on a large stage” He adds, “the detailing of the Kings’ and Queens’ costumes will be totally lost if they were not of a certain scale.” One has to appreciate the arguments of both Hill and Picou as they both contain an amount of truth.

rt of the Trinidad Carnival. Among these include the “Moco Jumbie” which can be traced back to West Africa. The practice of stilt dancing is a distinct African tradition and the term “moco jumbie” is derived from “mumbo jumbo” a clear West African phrase. Another ethnical source of Carnival is that of Asian influence. The festivals of Islam and Hinduism have trickled down to Carnival and this can be openly seen in the wheeled costumes of the King and Queen of the bands, as this is traditional of East Indian festivals. Mas-man Richard Bartholomew’s band “Liming” included a section entitled, “Hosay Liming” in which there was a moon costume. Indian music has also been added to the Carnival with the presence of the tassa drum. The Trinidad Carnival has also included pre-Columbian sources into its mas. The presence of Amerindian costumes can be dated back as early as 1848 and is still today existent through the works of people such as Lionel Jagessar. According to JW Nunley in Caribbean Festival Arts, “…the spirits of the original settlers return each year to Carnival.”

Carnival artistry comprises of various artistic sources. It is a mixture of talent of the designer as well as the masquerader for the creation of the mas is of equal importance to the portrayal of the mas. They both go hand in hand, each complimenting the other to create the magnificenc

Some topics in this essay:
Trinidad Carnival, Behavior” Sailors, Festival Arts, Minshaal Minshall’s, Lil Hart’s, , Terry Evelyn, Harold Saldenha’s, Hill Picou, Rain Forest, costume design, trinidad carnival, carnival artistry, physical surroundings, portrayal mas, artistic nature, artistic sources, ken morris, creation mas, impact carnival seminar, mas added, economic impact carnival, social economic impact, source artistic nature, artistic nature mas,