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 part o

The creation of the mas through the craftsmanship of costume design does indeed add to the richness of Carnival artistry. Materials used in costume design include fiberglass poles, Styrofoam, beads, bones and rubber. Today, the process of costume design is done chiefly in the mas camps with the masqueraders adding little and nothing to their costumes. However, there are costumes that are still paying attention to individualism in mas and an example of this is Sailor mas. Here, an individual is able to enhance his costume by adding various personal styles. Items such as mirrors, sequins, bottle caps and naval badges are added to the costumes to create a sense of character. Costume design also incorporates the art of wire bending which further aids in the movement of the costume. An example of this would be "Queen Diana Goddess of the Hunt" which was featured in W Berkeley's Rain Forest band of 1983. The costume was quite a large structure, however, it was able to imitate the movement of the wings of a bird. The wire bending technique used allowed for the movement of the costume and so the costume appeared even more realistic for not only did it look like a bird but also it moved like one. Through the past, costumes were molded form papier-mache but were gradually replaced by the use of copper and metal. After World War 11, artist Ken Morris switched from papier-mache to copper. He had begun by melting brass pots and shaping them into shields and breastplates. At present, Ken Morris runs a business that specialises in the use of copper for costume making. Ken Morris mentions in

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'

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Approximate Word count = 2065
Approximate Pages = 8 (250 words per page double spaced)