In the Caribbean there are ways that artists, writers, and costume makers depict the different Caribbean folklore characters. For example, sculptures made from wood, clay and plaster are used to depict legends like the Soucouyant and the Baccoo. Working physically with these materials allows the artist freedom of imagination to manipulate the figures into grotesque and visually disturbing versions of the characters in the myth. In general, from researching I have found that these artists focus on otherworldly and supernatural qualities which can be seen in the physical features of each piece. British sculptor Jason DeCaires Taylor created an underwater sculpture park that has been open to divers to visit since 2006, and presents a representation of Grenadan life and myths. I was fortunate enough to scuba dive around the underwater sculpture park myself in August 2017, experiencing the rings of figures and props that had been reclaimed by the sea life. One of Taylor's sculptures is of his representation of La Diablesse, a haunting skeletal woman with a wire body and a large sharp edged hat, much like the folklore describes. However, it is evident that Taylor has inputted his own style and altered things to fit with his interpretation of La Diablesse. Doing so has created a more unexpected outcome that would surprise, scare or even shock some divers swimming around the statues.
Another artist who uses the subject of Caribbean folklore is Trinidadian master of art, LeRoy Clarke. Dr. Clarke is a self taught artist, poet and philosopher who lives and works in Trinidad. He was awarded the Yoruba title 'Chief Ifa' Oje' Won Yomi Abiodun' by the Orisha Shrine Ile Eko Shango/Osun Mil' Osa, meaning "He Who Cannot Be Rebuked". His work emphasises spiritual being, emotion and psychology, and ties in well with Caribbean and Yoruba myths and legends. His piece 'De Meeting' (1981) strongly presents this to me. A dining room is shown with figures placed around it, with some appearing more whole and visible, and others appearing spectral and supernatural, spirit-like. The distortion of the faces is reminiscent of Picasso's portraits, creating the atmosphere of a dream, or a spiritual experience. To me, the work symbolises the presence of these spirits amongst the living world, like the Jumbie spirits that I discovered and was told about by my grandmother. Clarke's use of prominent acrylics and pastels illustrates the vibrancy of the caribbean culture and environment, complimenting the theme of spiritualism well.
As well as artists, members of the carnival in the Caribbean islands create costumes depicting the popular myths and legend of the West Indies. For example, the Moko Jumbies wear brightly coloured outfits and face paints or masks, and walk on stilts for the duration of the parade. According to some of the members, the Jumbies can represent the spirits of family members, or even African slaves that died during the journey overseas to the Caribbean. Other creatures are represented such as the Douen, the malevolent child spirit, the Baccoo, and La Diablesse. From my research I was astounded at the variety of interpretations, but was able to recognise specific features that made these creatures true to the myths.
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