The Tuscan Carnival of Viareggio is renowned worldwide for its extravagant and colossal floats. These floats, which resemble mobile theaters complete with music, actors, dancers, and special effects, serve as a platform for political and social satire.
While masked balls have long been a tradition in Viareggio and other cities, the concept of creating elaborate works of art specifically for the carnival was only born in 1873. At the time, Italy had recently undergone unification, resulting in changes in laws and increased taxes. Some affluent young men from the middle-class were dissatisfied with these developments and decided to take action.
Gathering at the Caffè del Casinò, they devised a plan to protest against the authorities and the high fiscal pressure. Disguising themselves with masks, they took to the streets, expressing their grievances while having a good time. Little did they know that this spontaneous act would spark a new tradition.
Since then, the carnival has evolved into a unique occasion where people can unleash their frustrations through satire, irony, and sarcasm. It serves as a platform to draw attention to social issues and criticize the government, all while hidden behind masks and costumes.
Over time, the floats became a prominent feature of the carnival. Initially, they were incredibly heavy, but as the 19th century progressed, artists began constructing monumental figures made from wood, jute, plaster, and glue. These creations, brought to life by skilled carpenters and iron smiths, added a sense of grandeur to the festivities.
The outbreak of the First World War momentarily dampened the spirit of celebration, but in 1921, the carnival made a triumphant return. The parade now took place along the sunlit promenade of the Versilia coast, with the stunning backdrop of snow-capped Alps. Additionally, the song “Coppa di Champagne,” symbolizing celebration and joy, was introduced as the official anthem of the carnival.
In the year 1925, a new technique called cartapesta was introduced specifically for creating floats. This innovative method allowed artists to easily construct large and maneuverable structures due to its lightweight and flexible nature. The international media were captivated by the craftsmanship of these individuals, even going as far as calling them “papier-mâché wizards”.
Cartapesta is actually a combination of paper fragments, water, glue, and starch. The process begins with the builder, known as a “carrista”, making a clay model. By applying a layer of plaster on the model, a negative mold of the final piece is created. The next step involves filling the mold with strips of paper that have been soaked in a mixture of water and glue. The entire structure is then left to dry completely.
Once the paper mass has hardened, it is carefully removed from the mold. The carrista then uses abrasive paper to smooth out any imperfections before proceeding to paint the piece with acrylic or tempera paints. To ensure longevity and protection, a clear varnish is applied as a final coating.
In 1927, another significant breakthrough occurred in the world of cartapesta. A puppet of the beloved Pierrot character became the first to have a head and eyes that could move.
The renowned Carnival is adorned with the emblematic figure of Burlamacco. This delightful persona was brought to life in 1931 by the talented painter Uberto Bonetti, who skillfully crafted the official artworks. Drawing inspiration from distinguished Italian masks, Burlamacco exudes charm with a touch of familiarity. With a nod to Pierrot’s distinctive pom pom and Arlecchino’s iconic checkerboard attire, Burlamacco embraces a vibrant color palette of red and white. These cheerful hues evoke the delightful essence of summer and mirror the ubiquitous umbrellas found dotting the city’s picturesque beaches.
The Carnival of Viareggio established itself as a prominent event in Italy and across the globe after World War II, featuring the largest and most lively floats worldwide. One of the reasons for its grandeur is the fact that many float builders inherit their craft and secrets from previous generations, constantly coming up with new and innovative ways to captivate the audience. These artisans collaborate with renowned artists to bring the chosen themes, usually centered around political and social satire, to life in the most compelling manner. They poke fun at politicians, television personalities, athletes, and even human nature in general, addressing pressing issues without hesitation. With carriages spanning twelve meters in width and towering over twenty meters in height, these creations are not just seen as elaborate displays, but also as profound works of art with deeper meanings.
In 2001, the city took initiative to further enhance the festivities by opening a modern multifunctional complex known as the Carnival Citadel, committed to the creation and preservation of this cherished tradition. With its sixteen hangars, the complex serves as workshops for the talented float builders, and visitors have the opportunity to explore them as well. Additionally, the museum within the complex offers a glimpse into the carnival’s history and allows visitors to get up close and personal with statues from previous years.
I arrived in Pisa on a sunny Saturday morning, eager to revisit the renowned Leaning Tower. However, the weather wasn’t ideal for sightseeing. Undeterred, I decided to capture the iconic tower with my camera. To my surprise, I encountered a peculiar phenomenon – no matter how hard I tried, I couldn’t capture the tower as truly leaning! It seemed that only from a distance could I avoid the distortion caused by the round lens. Instead of capturing its leftward lean, the tower appeared to lean towards the right in my pictures. It was a strange and unique occurrence that left me feeling like I possessed a rare gem in the photography world.
The train ride to Viareggio took just twenty minutes, and I was excited to explore this renowned destination. However, I was slightly taken aback to discover that the city was smaller than I had imagined, with a population of just over 60,000 residents.
As I stepped off the train, I was immediately greeted by a lively scene – a statue of a sun with a joyful expression and an information poster. The buildings were adorned with colorful flags, masks, and vintage puppets, adding to the festive atmosphere. The streets were filled with music, playing loudly through the speakers.
In the square near my hotel, I found a variety of market stands selling carnival-themed items and other delightful treats. The city center itself was small but incredibly charming. A pleasant promenade stretched alongside the coastline, lined with stunning Art Nouveau houses, intricately designed and captivating to the eye. The street was bustling with shops, restaurants, and bars, creating a vibrant and lively ambiance.
One of the notable attractions along the waterfront was a statue of Burlamacco, a cheerful clown adorned in a red-and-white cape. It put a smile on my face, radiating joy to everyone passing by. In the distance, the monumental snow-capped Alps served as a breathtaking backdrop, almost appearing like a mirage.
As I wandered along the Burlamacca Canal, a waterway that connected the inland to the sea, I couldn’t resist the enticing scent of freshly caught fish and seafood. Local fishermen were selling their catches and serving up delicious seafood dishes directly from their boats. The aroma filled the air like a long, fragrant scarf, tempting me to join the queue and savor the delectable flavors on offer.
The weather was so nice that people were dozing off on the benches, and since I was starting to feel tired as well, I decided to grab a cup of coffee. The Fappani sweet shop caught my eye with its assortment of cakes and refreshing (and Instagram-worthy) beverages – in shades of pink, pale blue, yellow, and green (infused with curcuma, matcha tea…). It was a clever concept! I opted for a pink milk and a classic carnival treat – fried pastries called chiacchiere (which translates to “gossip”). The name perfectly captures their quick and easy preparation, requiring just water, flour, and sugar; they’re ready in no time – just like a juicy piece of gossip. 🙂
On the delightful Sunday morning, I decided to indulge in a new breakfast treat, rice fritters with cream (known as fritelle di riso). Oh, how delicious they were! After satisfying my taste buds, I headed towards the sea. To my surprise, all the access streets were closed, and only special entrances granted access to the promenade.
As I strolled along the road, I couldn’t help but notice the stalls offering “first aid” to those without masks. They had a variety of options available, such as headbands with ears, hats, and even wigs. Not only that, but they also catered to the unfortunate souls who couldn’t secure a table at a restaurant. The bars and pizzerias were overflowing with customers. I later read that approximately two hundred thousand people attend each parade, and it seemed like all two hundred thousand wanted to have lunch at a beachside restaurant. Unfortunately, they had to settle for the delicious but quick food served by the food trucks.
Noon arrived, and the promenade came alive with the arrival of the allegorical floats. They parked themselves in their designated positions, allowing everyone to admire them up close, touch them, and take memorable photographs with them. At first glance, these stationary floats didn’t appear much larger than the ones I had seen in Nice. However, as the parade progressed, it became clear that some of them held surprises within…
At 3 o’clock in the afternoon, after the customary three cannon blasts, the procession commenced. The setting was absolutely breathtaking; just picture a stunning azure sky, glistening ocean, and distant snow-capped mountains. The carriages themselves were a sight to behold, adorned with vibrant colors and unbelievably large!
What made them even more remarkable was the fact that they were actually mobile theaters. Each float carried actors or dancers donning fantastical costumes that enhanced the ambiance of their respective themes; some performers were positioned at the front, while others were at the rear. Each carriage had its own accompanying musical soundtrack and was enhanced with smoke, fire, and dazzling light effects. Numerous elements and sections of the floats moved in captivating ways. Although the official focus was on “Women,” the underlying message reflected concerns about the environment, hunger, politics, and other pressing issues. It was undeniably a poignant display… Every single float left a profound impact on the spectators.
My personal favorite was the Last Snow White (Ultima Biancaneve). In this slowly advancing carriage, there sat a woman with hair entwined with ivy, her body adorned with leaves. She turned her head from side to side and even a butterfly nestled in her hair fluttered its wings… It became apparent that she represented Mother Nature. Positioned amidst a pile of garbage, surrounded by plastic bags, and resting against what appeared to be a black boulder, nothing extraordinary seemed to be happening, right?
However, that supposedly inert boulder began to rise! In reality, it was not a rock, but rather a towering, repugnant witch wearing a gas mask, clutching an apple in her hand! She loomed over Mother Nature, swaying from side to side, the rounded bottom of the gas mask pendulously swinging back and forth… Until the poisoned Snow White, a representation of Nature, collapsed lifelessly. Slowly, the witch’s mask inched its way beneath her headscarf (within the limits of technical possibilities, of course) and unveiled a sinister countenance. The old hag opened her mouth, revealing a single tooth, and let out a wicked, malevolent laugh, “Muahaha”…
Yuck!
The parade float known as The Herd (Il branco), which aimed to raise awareness about school bullying, initially appeared innocuous and motionless. However, as the performance commenced, I couldn’t help but feel a wave of unease wash over me. A peculiar sight emerged—an object resembling a white book enshrouded in mist.
To the accompaniment of horrifying music, a massive hyena abruptly emerged from within. It wrinkled its nose and displayed its teeth with such authenticity that it seemed like a genuine animal (their replication was impeccable). The hyena swiveled its head, glancing at the spectators on both sides, as if contemplating which direction to pounce. More smoke billowed, accompanied by a cascade of sparks… and then, gradually, two more dreadful heads began to emerge from the book! The creature bore resemblance to Fluffy, the three-headed dog from the Harry Potter books. And as night fell, its eyes gleamed with an eerie luminescence.
The other mobile stages were equally impressive. One particular float featured a crying whale covered in plastic, highlighting the issue of marine pollution. Another float portrayed drowning migrants, shedding light on the ongoing refugee crisis. The crowd was particularly captivated by the presence of a feminist Frida Kahlo, who not only made the audience dance but also motivated them with her screams of “Adelante!” as she pointed forward. In a more light-hearted display, Donald Trump was depicted as a baby with a cheerful smile, floating above rotating pillows. However, he also appeared as the Star Wars Emperor, accompanied by monumental music reminiscent of Sheldon’s destructive ambitions. The colossal float, symbolizing Trump, ominously hovered above the spectators.
Some smaller characters in the parade poked fun at local issues. For instance, politicians dressed as overweight trees represented those who had been in power for too long, while gardeners with large scissors behind them embodied the new and relatively popular ministers Di Maio and Salvini. The plight of Italian university students who struggle to find jobs and are eventually forced to leave their country was represented by a bird named Volare, carrying diplomas in its bag while singing a well-known hit and flying abroad.
Every float and statue in the parade invoked serious contemplation about various issues. Attending the Viareggio parade is undoubtedly a worthwhile experience, and politicians should be obligated to witness it annually.
The atmosphere during the parade was serene and enjoyable, possibly because there were five parades, each showcasing the same floats. The slow movement of the sculptures allowed spectators to take breaks for coffee or ice cream without missing any significant moments. Although masks were not obligatory, a few individuals, mostly children, chose to wear them and joyfully tossed confetti into the air, creating a snow-like effect on the streets.
Incidentally, did you know that confetti (coriandoli) is also an Italian invention? In the late 19th century, two engineers invented confetti as a replacement for the previously used gypsum balls and sugar-coated coriander seeds.
As night fell, the automobiles illuminated their lights, creating a dazzling spectacle. The eyes of the witch figurine glowed brightly, while Fluffy, another character, expressed its wrath towards everyone. The parade continued until 7.30 pm, with the artistic displays circling around the promenade before ultimately returning to their starting point.
Later in the evening, local volunteer organizations organized nighttime festivities in various parts of the city such as the Q.re Campo D’aviazione, Torre del Lago, Marco Polo, Darsena, and Croce Verde districts. I decided to attend the one held in the Marco Polo area.
Upon arriving at the church square, I was greeted by a multitude of stalls offering affordable yet delicious food and wine. This gathering primarily catered to the locals, who enjoyed a delightful evening of dining, catching up with friends, and perhaps even dancing…
P.S. Following the conclusion of the parade, the jury announced and honored the winner of the competition, with this year’s title being awarded to the enchanting Last Snow White display.