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• W228974168 abstract "CarnivalBetter Timing Needed at Carnival SpectacleCarnival 'as she was staged' at the Queen's Park Savannah this year openly dramatized our old problem of spontaneity versus order. In a sense, this has divided the public into two camps: those who would completely scrap the Savannah pageant and return to those days when carnival was played almost without direction in the streets, and the others who argue that the Savannah presentation is with us for good, and that the sanest procedure would be to increase the discipline of its production.A third voice, with not enough authority to alter official opinion, insists that tiie pageant could combine both dancing and spectacle by having the competing bands revolve around the Savannah, with bleachers erected on the circumference. There is much to that idea, but it is doubtful whether the Carnival Development Committee, a body that now seems to consider itself superior to the needs of the public, will make such drastic changes in its design. For the time being, we can only expect that the presentation will be repeated, if only to keep the tourists out of the sunlight which they came for.Whether we like to think of it as that or not, Savannah Carnival is a staged production, but there is no reason why it cannot combine both discipline and gaiety. As a production, in the sense that other public spectacles such as Oberammergau, the Tournament of Roses, and even Macy's parade are productions, it is almost shapeless. The focal point of the Savannah spectacle is, of course, the tremendous stage, ramped at either end, built for the dramatic entrances of the bands before a seated audience. Properly timed, the effect can be overwhelming. This year, it thudded so erratically on the spectators' eyes amd ears that it came close to being a spectacular bore.It is true to say that, except in a few bands, there was far too much solemnity and deadly earnest. In fact, the tone of deadly earnest prevailed so strongly that the prize for band of the year was awarded to one which marched instead of danced, and was so cumbersomely designed that it crawled across the stage. Is illusion not shattered when carefully designed floats and stills authentic in detail have no machinery to work them apart from straining handlers? And when machinery is added, as it is bound to be, is the Queen's Park stage the right place for it?The logical and frightening prospect is towards a mechanized carnival, which means goodbye sailors, Wild Indians, Desperadoes, and the more spontaneous bands. Bands can be advised, and most of them will keep their reputation in the public eye. Those which are truer carnival bands, like this year's Fancy Clowns, China in Peace and War, and Siam, for example, realize that to be on the move in sunlight with all the accoutrements of music, dance formation, and the angling of spears and banners, is the most effective theatre. Those are the bands which receive public applause, not because of size or garishness, but because of style. What is needed is to theatricalize the entrance, performances, and exits.One of the first steps, and this is almost universally agreed, is to eliminate those moments which obstruct the flow of bands across the ramp. Floats, stills, the over-lengthy spiel from the Robbers should, if at all, be judiciously presented. The point is to avoid the boredom that comes from surfeit. It may even be wise to cut down on the number of characters in a band. There is no threat to the Carnival spirit there, as the public will play mask no matter what shape it takes.It is the 'ho-to-to' spirit of Savannah carnival that is present in the pretentiousness of the mammoth bands, their wild extravagance and artistic hollowness, that can turn the public away from the Savannah and leave the stands to tiie tourists, who can find more order in well-organized parades and carnivals abroad. Better timing, and a more thorough design architecturally for a spectacle that, while the happiest in the world, is losing its vigour and becoming artistically ungovernable, would improve and justify our national extravaganza. …" @default.
• W228974168 created "2016-06-24" @default.
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• W228974168 date "2013-01-01" @default.
• W228974168 modified "2023-09-24" @default.
• W228974168 title "Carnival and Calypso" @default.
• W228974168 doi "https://doi.org/10.1163/9789401210072_007" @default.
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