As a first timer at the Viareggio Carnival in Italy, it was hard to believe what you were witnessing – animated papier-mache giants inching along a crowd-filled seaside boulevard.
As the first enormous float edged into view its scale was breathtaking. Hordes of street performers were as ants to an elephant. Seafront buildings became obscured. Pulsating music and illuminations streaking into the night sky, amplified the image of vastness as the 20-metre-high exhibits became engulfed in a swirling sea of carnival-goers, many costumed and dancing with friends and family.
Friendliness was abundant in Viareggio and for a party of 30 visiting carnivalites from Bridgwater and beyond, there was a pre-parade welcome at an official Press conference where Bridgwater Guy Fawkes chairman Duncan White exchanged gifts with his Viareggio counterpart.
And the day following the parade, the Bridgwater party were shown around the sprawling purpose-built HQ where float builders create their magic. Professional builders work alongside volunteers in the months leading up to a series of six parades in Viareggio each February. The centre is itself a tourist attraction which also includes a beautifully curated museum and a bistro.
Local traders, restaurants and hotels all buy in to the carnival sprit with huge displays of banners and other images of the key carnival character – Burlamacco
The word carnival in Roman Catholic Italy stems from the Middle Ages period of feasting and merrymaking ahead of Lent when meat is off the menu (Carne Levare). In the museum, works of art and other artefacts show the development of carnival from 1540. A painting by Peter Bruegel the Elder (1512 – 1569) is titled Fight Between Carnival and Lent.
In Viareggio, the carnival has developed a strong satirical edge – epitomised this year by the Gran Casino entry which showed world leaders dicing with death at the devil’s spin of a roulette wheel.
Putin, Trump and Xi Jinping were depicted as the three great warriors on I samurai del potere – the Power Samurai – float. Xi Jinping seeking economic supremacy, Putin aiming to restore imperial strength with Trump as the Master of Chaos.
European Commission President Ursula von der Leyen was lampooned as La gallina delle uova d’oro – the Golden Egg Hen – for her call to re-arm – an about-turn from promises of peace and stability.
But there were also strong messages of hope as in the fabulous In bocca al lupo’– Good luck in the mouth of the wolf. The depiction of Little Red Riding Hood gently pacifying a fearsome wolf was enough to bring some onlookers to tears. The message – courage, optimism and hope in the face of terror.
Lo vivo in questo – I Live In This Moment – subtly reflects the urge to escape reality by reminding us that the past cannot be changed with the future shaped by our own choices.
Nel campo dei miracoli – In The Field of Wonders – the offer of a miraculous quick fix to life’s problems is scorned with the depiction that the real answer lies in strength of character and determination.
The Last Hop(e) – shows the fragility of our planet with frogs leaping on delicate lily pads and asks is climate change really just a hoax?
Between the huge floats were dozens of push-along papier mache entries – each also broadcasting a message making the entire parade a gallery of this satirical art form.
Dancing, merrymaking and the hurling of confetti among the audience created a strong bond of friendship and fun for the two hours or so of the parade which ended with a spectacular fireworks display.
John Jacques
