Alex Reiner
Entry 10- 3/26
I am currently writing my art history senior seminar paper
on Trinidadian Carnival, more specifically costuming during this event. While these costumes are intricately
beautiful on their own, when they are worn and processed/danced in along the
parade route, they truly come to life. I
have found that it is incredibly hard to take non-western art (like that of
Trinidad) and force it to fit into a western mold of rigidity created once
pieces are posed in a museum because it truly takes away a large component of
how the art is meant to be viewed and interpreted. In the case of Trinidadian Carnival
costuming, processioning is critical.
The art in processioning in Trinidadian Carnival is found in the order
in its disorder. Carnival is a
particularly chaotic appearing event, but there is a strong set of guidelines
that dictate behavior and action, which is what makes it still a
procession. As van der Leeuw states,
"especially in processions we find a latent awareness of the rhythmic
background of life..." (39).
Trinidadian Carnival is fueled by many components, one of which is the
calypso and steel band drumming that provide a rhythm and movement to the
festivities. In this case "the
rhythm controls the movement" (40).
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