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Relevant bibliographies by topics / Masquerades in art

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Journal articles

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 t

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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 no

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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 commentato

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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 connec

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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

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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 an

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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

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