Due to the current revival of folk traditions in the UK I was faced with the question: where does my cultural identity stand as an immigrant?

 

I have been hiking more and connecting with nature both in the UK and my country of birth, Italy. I’ve read magazines such as Weird Walk and Hellebore, and took part in different kinds of pagan celebrations in the UK. I found a kindred spirit in the book ‘I Belong Here’ by Anita Sethi. 

 

I thought about the traditions of the town where I grew up, Viareggio, where one of the biggest carnivals in Europe takes place. Since 1873 generations of artists (mostly male) have been constructing giant sculptures made of paper mache, which they then parade on the seaside promenade during the weeks leading to lent. Thousands of people in costume attend the events, which then turn into a more adult version in the evenings and include lots of drinking and dancing.

 

Just minutes away in Torre del Lago you’ll find the birth place of renowned opera composer Giacomo Puccini. Opera was drilled into us from an early age at school, perhaps the drama and campness of it all inspired my later interest in drag performance.

 

I have also been looking into Commedia dell’arte, which was an early form of professional theatre that originated in Italy during the 16th century. It was characterised by masks worn by actors, representing archetypes with pre-set personalities and background stories. One of the oldest masks are the Zanni which represent the working class, the servants and the more earthy desires of human beings (in fact he is always either hungry or horny). He’s known to be a trickster and have diabolical connotations and origins.

 

Coming back to the UK I have also attended a lecture on the figure of the Hag by Peggy Sue. Often condemned as a witch, the elderly woman is no longer a useful member of society as she can no longer bear children or be used as a sexual object for men. Therefore she is always isolated and looked at with suspicion. 

 

By creating the masks with papiermache I connected with the traditions from my home town, where the only job prospective for artists is to get involved with the carnival. While designing their features I thought about how non Eurocentric features such as big noses are demonised in most film or literature narratives. same happens for ageing women. 

 

With my Girls (this is how I call the masks) I reclaim all these attributes with pride, including the demonic connotations. When I wear them I comfortably embody the fear they provoke and the power that comes from relinquishing society’s rules and obligations.