Nunley Reading

            In John Nunley’s chapter about the Trinidad Carnival, what I found most interesting was when he discussed the various cultural influences that are within the Carnival. I think this is noteworthy because it supports Gilroy’s ideas of the Black Atlantic and the various cultural exchanges and ideas throughout the Atlantic. Since Trinidad’s Independence in 1962, music and costume have looked more towards African influence (p. 92). For example, the mask of the Callaloo King looks to the Dogon people of Mali as well as the Mossi of Borkino Faso (p. 92). Not only is there African influence in the Carnival but there are also Islamic and Hindu references. Elephant-like masks representing Ganesha are found in the Trinidadian festival, Ramlil (p. 94). As for Islamic influence, the tessa drum, found in East Indian Islamic traditions, appear in the Carnival (p. 94). There are also Pre-Columbian motifs that are present in Mayan and Aztec religions, such as the Rain God, Chac or Tlaloc, and Quetzalcoatl. However, these images from the indigenous peoples were being replaced by cultural traditions of the North American Indian in the nineteenth century (p. 96).  From Nunley’s reading, we can see how multiple cultural influences have a small niche in the Carnival. I think this is fascinating because it invites viewers to better understand and perhaps relate to the Trinidad Carnival.