Nunley Reading

                John W. Nunley's chapter, Masquerade Mix-Up In Trinidad Carnival: Live Once, Die Forever, he discusses the various influences of Carnival. What I found most fascinating is Nunley's description is 'each Carnival is different; each affirms the past and reaches into the future' (p.85). This is very important in understanding the African diaspora specifically for cultural collective.  The influences differ and have changed, or added to, as time has continued. Under Masquerade Sources (p.89), Nunley examines the differences between French and Spanish colonists celebratory traditions of Carnival and how although, slaves were not allowed to attend the soiree, they were influenced by particular conventions such as costume. This reminded me of Marcus Garvey's use of European costume attire during parades. Garvey's military styles and the understanding of parades (from last week's reading) Second Line parades in New Orleans, costume is an additive of the temporary ownership of the streets Carnival (or any celebratory parade). The Aesthetic Force (p.99) chronicles the varying styles from Hindu, Islamic, Native American, as well as the bright colors, the materials, and the size. These aesthetic qualities add to the notion of the body owning space by performance in public spaces allows the feeling of liberation.