Relevant bibliographies by topics / Masquerades in art

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Academic literature on the topic 'Masquerades in art'

Author: Grafiati
Published: 29 July 2024

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Journal articles on the topic "Masquerades in art"

1

BolanleTajudeen, Opoola. "Incantation as a Means of Communication in Yorùbá Land: ‘Eégún Aláré’ as a Case Study." International Journal of Comparative Literature and Translation Studies 7, no. 2 (2019): 67. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.2p.67.

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Yorùbá oral literature is of three categories namely chant, song and recitation. This paper, therefore, focused on incantation as a means of communication among the masquerades in Yorùbá land with its data drawn from “Eégún Aláré”, a Yorùbá novel. Incantation is a combination of carefully arranged speeches or words in a poetic form and its use makes things work miraculously as the users wish or words that make human wishes come to reality with immediate effect. Before Christianity and Islam gained prominence in the Yorùbá society, Alárìnjó masquerades were among the well known traditional public entertainers and that during performances, incantation was often used to know who is who among the masquerades. However, Christianity and Islam have made the use of incantation, as a means of communication during masquerade performances, a thing of the past and what used to be a family profession in the past is no longer so because members of the Ọ̀jẹ̀ families who were in charge of this cultural profession in the past have now been converted to either Christianity or Islam or have been negatively influenced by Western education. This study nullifies the communication chain as the person to whom incantation is directed does not need to understand the language of the person that uses the incantation as the feed back would be the effect of the incantation in positive or negative form. The essence of this paper is to promote Yoruba oral literature through formal documentation of incantation as a Yoruba linguistic verbal art.
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2

Gagliardi, Susan Elizabeth. "Art and the individual in African masquerades Introduction." Africa 88, no. 4 (2018): 702–17. http://dx.doi.org/10.1017/s0001972018000438.

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S. Omoera, Osakue, and Ruth Etuwe Epochi-Olise. "MEDIATIZATION OF NDOKWA MASQUERADE PERFORMANCES: THE AESTHETIC DYNAMICS OF AN AFRICAN INDIGENOUS CARNIVAL." Journal of Cultural and Creative Industries 3, no. 1 (2022): 1–22. http://dx.doi.org/10.21134/jcci.v3i1.1763.

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This article examines the mediatization of the aesthetic dynamics or dimensions in the masquerade performances of the Ndokwa people in Delta State, Nigeria. Masquerade performances and carnivals are spectacular indigenous theatrical activities or forms that involve the impersonation of fictive characters by costumed performers in Nigeria and across Africa. These art forms share similar elements that make them culturally significant in terms of creativity and social commentary. The Ndokwa masquerade performances during festive celebrations have been on for over two decades but have virtually not been given the deserved publicity to project them as fine tourist events. Deploying Etop Akwang’s “Medialization” model, this study uses historical-analytic, key informant interview (KII) and direct observation to consider the uniqueness of the Ndokwa masquerade performance. It holds that the masquerade performance is a valuable cultural product that combines the characteristics of carnivals and celebrations of fluid cultural exchange that appear to have led to hybridized cultural performances amongst the people. It highlights some of the aesthetic dimensions of the Ndokwa masquerades and how they could be made more culturally viable and economically appealing through the use of new media outlets. This article, therefore, advocates for the use of social media as a trendy form of mediatization or media production to give visibility to Ndokwa masquerade performances in the global cultural space.
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McNaughton, Patrick. "Agency in artistry: comments on ‘Art and the individual in African masquerades’." Africa 88, no. 4 (2018): 824–39. http://dx.doi.org/10.1017/s0001972018000487.

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Understanding masquerade performance is a difficult challenge because so many dimensions of expressive culture come together. There are questions of performer ambiguity and secret expertise, the confounding relationships between secular and spiritual, the many aspects of secrecy, and the involvement of higher powers. There is also the basic question of what a performance is supposed to accomplish, and the most fundamental issue of individual identity and agency.
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Gagliardi, Susan Elizabeth. "Masquerades as the Public Face: Art of Contemporary Hunters' Associations in Western Burkina Faso." African Arts 46, no. 4 (2013): 46–59. http://dx.doi.org/10.1162/afar_a_00107.

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6

Thomas, Sanju. "The Moor for the Malayali Masses: A Study of "Othello" in "Kathaprasangam"." Multicultural Shakespeare: Translation, Appropriation and Performance 13, no. 28 (2016): 105–16. http://dx.doi.org/10.1515/mstap-2016-0008.

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Shakespeare, undoubtedly, has been one of the most important Western influences on Malayalam literature. His works have inspired themes of classical art forms like kathakali and popular art forms like kathaprasangam. A secular story telling art form of Kerala, kathaprasangam is a derivative of the classical art form, harikatha. It was widely used to create an interest in modern Malayalam literature and was often used as a vehicle of social, political propaganda. The story is told by a single narrator who masquerades as the characters, and also dons the mantle of an interpreter and a commentator. Thus, there is immense scope for the artist to rewrite, subvert and manipulate the story. The paper explores V. Sambasivan’s adaptation of Othello in kathaprasangam to bring out the transformation the text undergoes to suit the cultural context, the target audience and the time-frame of the performance. The text undergoes alteration at different levels—from English language to Malayalam, from verse to prose, from high culture to popular art. The paper aims at understanding how a story set in a different time and distant place converses with the essential local milieu through selective suppression, adaptation and appropriation.
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7

Clunis, Sarah. "The Passing: The Evocative Worlds of Ebony Patterson's Dancehall Egúngún." Women, Gender, and Families of Color 9, no. 2 (2021): 167–88. http://dx.doi.org/10.5406/23260947.9.2.04.

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Abstract In 2010, Jamaican artist Ebony Patterson lost her father. This shifted her art significantly, and she recalls that, for the first time, she began to work with death in her practice. Her new body of work, elegantly ornamented tapestries, evokes spectral disembodied figures, elaborately coiffed and assembled with glitter, plastic, cotton, and glass. What is unexpected about the complicated tapestry of ideas in Patterson's work is that, through its use of cloth to memorialize death, it offers an evocative connection to the use of adornment and clothing in dancehall culture and its connection to both Jonkonnu and Egúngún masquerade traditions. My analysis of Patterson's work looks at the prominence of cloth and ornamentation in Egúngún masquerade traditions in Nigeria and within the cultural sphere of the Jamaican Jonkonnu masquerades of the eighteenth and nineteenth centuries. This analysis links the expensive and abundant uses of cloth in the design of highly embellished Nigerian Egúngún costumes to similar traditions within Jamaican Jonkonnu masking and argues that the aesthetics of both traditions (in the form of adorned maskers) creates a body that acts as an agent of social control, communicating important ideas about kinship, masculinity, wealth, violence, and death. Through this examination of excessively embellished cloth and its historical connection to memorializing kinship connections, solidifying community relations, and simultaneously communicating wealth, aggression, and a hypermasculinity, I suggest that not only is Patterson creating Egúngún with her work but that our understanding of the popular expressive culture of men's fashion within dancehall culture is not a feminized expression at all, but a hypermasculine Africanized expression which champions flamboyant and excessively adorned expressions of dress, while at the same time solidifying community kinships, exhibiting wealth, and memorializing the deceased.
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8

Farajallah, Hana Fathi, and Amal Riyadh Kitishat. "The Self and the Other in Philip Massinger’s “The Renegado, the Gentleman of Venice”: A Structural View." Theory and Practice in Language Studies 9, no. 1 (2019): 118. http://dx.doi.org/10.17507/tpls.0901.17.

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Renaissance England (1500-1660) is the most flourishing era of English history which testified the emergence of classical humanistic arts. Of course, drama is a literary genre that prospered, then, to entertain the interests of the Royal ruling families, especially Queen Elizabeth 1 (1558-1603) and her successor King James 1 (1603-25), as theatres were built in London along with dramatic performances held in the courts like masquerades. This study aims at showing the distortion of Islam in Philip Massinger’s “The Renegado or The Gentleman of Venice”, via tackling the theme of “the self and the other” and analyzing the structure of the play. Why not, and English Renaissance citizens love to watch the non-Christians, the misbelievers, humiliated and undermined. Massinger, among other Elizabethan dramatists like William Shakespeare, uses the art of tragicomedy to show the Western hatred, which is “the self”, of the Oriental Islam that is in turn “the other”.
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9

Ortiz, Federico, and Ushma Thakrar. "TRABAJAR SIN SOLUCIONES. ENTREVISTA CON KELLER EASTERLING." Materia Arquitectura, no. 23 (December 30, 2022): 22. http://dx.doi.org/10.56255/ma.v1i23.532.

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 La diseñadora y escritora Keller Easterling es profesora Enid Storm Dwyer de arquitectura en la Universidad de Yale. Su investigación y sus escritos han sido incluidos en las bienales de Venecia de 2014 y 2018. Su obra ha sido expuesta en el Queens Museum, la Bienal de Róterdam, el Storefront for Art and Architecture y la Bienal de Diseño de Estambul. Es autora de Medium Design: Knowing How to Work on the World (Verso 2021), Extrastatecraft: The Power of Infrastructure Space (Verso, 2014), Subtraction (Sternberg, 2014), Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005) y Organization Space: Landscapes, Highways and Houses in America (MIT, 1999), entre otros libros. Easterling también es coautora (junto con Richard Prelinger) de Call it Home: The House that Private Enterprise Built, A Laserdisc/DVD History of US Suburbia from 1934-1960. En 2019, Easterling fue designada “Artista de los Estados Unidos” en arquitectura y diseño.
 
 
 
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10

Rea, William R. "Rationalising culture: youth, elites and masquerade politics." Africa 68, no. 1 (1998): 98–117. http://dx.doi.org/10.2307/1161149.

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Studies of associations in West Africa have tended to focus upon the development of new development-related institutional forms. Other, so-called traditional, cultural groupings have tended to be ignored. This article points to transformations and changes in the masquerade society of the north-eastern Yoruba town of Ìkòlé and considers the continuing development of the masquerade society as an association. Changes in the masquerade society are being strongly promoted by younger men as a way to establish masquerade as a resource, promoting Ìkòlé's cultural identity. They are aided and funded by groups of elite citizens who are not necessarily resident in Ìkòlé. The article examines the relations between the various groups involved in masquerade, as well as the relationship between those often elite town members who support masquerades and Pentecostal Christian groups which would happily see their demise.
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