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Journal articles on the topic 'Masquerades in art'

Author: Grafiati

Published: 29 July 2024

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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 (April 30, 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 (November 2018): 702–17. http://dx.doi.org/10.1017/s0001972018000438.

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3

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 (December 22, 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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4

McNaughton, Patrick. "Agency in artistry: comments on ‘Art and the individual in African masquerades’." Africa 88, no. 4 (November 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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5

Gagliardi, Susan Elizabeth. "Masquerades as the Public Face: Art of Contemporary Hunters' Associations in Western Burkina Faso." African Arts 46, no. 4 (December 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 (April 22, 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 (October 1, 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 (January 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 (January 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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11

Asogwa, Odoja. "Social Dynamics and Resilience in the Northern Igbo Masking Traditions." Cultural Arts Research and Development 2, no. 2 (September 8, 2022): 39–49. http://dx.doi.org/10.55121/card.v2i2.36.

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The coming of the Europeans into Igbo land engendered change-producing forces. Their encounter with the indigenous people created liminality that disrupted vital facets of Igbo traditional life. Masquerades formed a significant aspect of the Igbo cultural heritage. It was hit the hardest by the colonial encounter but comparably changed the least. Participant observation method was used to collect information for this study. It identified a few of the change-producing forces and tried to understand the reasons for the resilience of the masquerade institution in the face of a battery of the forces of the agencies of modern social change ranged against it. Their effects have been enormous but because of the intense belief of the people in masquerades as the incarnate spirit of their ancestors, and the need for them to maintain and sustain the historical links and primordial relationships between them, the institution continues to thrive. Masquerading is a creative act that employs various arts, sciences, and technologies, and incorporates them to produce all-round theatre.

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12

Haxaire, Claudie. "The Power of Ambiguity: The Nature and Efficacy of the Zamble Masks Revealed by ‘Disease Masks’ Among the Gouro People (Côte d'Ivoire)." Africa 79, no. 4 (November 2009): 543–69. http://dx.doi.org/10.3366/e0001972009001065.

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Among the Gouro masks, Zamble, a composite animal figure, and Gù, a fine-featured woman's face, are known to art lovers around the world. Today their profane avatars, Flali and Zaouli, are at the heart of masquerades that are much enjoyed by audiences. But this appreciation concerns only the ‘pretty’ aspects, that is to say the civilized and orderly side of an ensemble that also has a reverse side: the disease masks, sprung from disorder, avatars of the more powerful Zàùlì, described as the wild brother or husband of Zamble in the genealogical idiom employed by the Gouro when referring to the masks. These masks are created by each generation of young people and are central figures in rituals of inversion that express the upheavals of the times. At the same time as they establish their creators’ reputations, they serve as a record of these events for the Gouro. Descended from the initial trio of masks (Zàùlì, Zamble, Gù), they prolong the trend to secularization of this family of masks from the sacred wood. In tracking this tradition over twenty years we can see a process of resacralization. When the youths’ comments are analysed in the light of encyclopaedic knowledge acquired in the course of anthropological research on health, we can understand the necessity of the mask figure, and going further can understand what an ugly profane mask is, what it presents and the role it plays. In return the Zamble mask and its associates take on another dimension, a dimension that opens up exploration of the unknown via their intrinsic ambiguity and the transgressive behaviour they allow during the time of the ritual.

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13

Нечаева, Л. В. "THE FORMATION OF SECULAR MUSICAL AND THEATRICAL ART OF THE URBAN POPULATION OF WESTERN SIBERIA IN THE XVIII CENTURY." NATURAL AND HISTORICAL AND CULTURAL HERITAGE OF SIBERIA 2, no. 2(3) (July 8, 2024): 37–44. http://dx.doi.org/10.25713/hs.2024.3.2.004.

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Цель статьи – на основе документов, хранящихся в фондах Государственного архива в г. Тобольске, эпистолярного наследия и других источников проследить становление светского музыкально-театрального искусства городского населения Западной Сибири в XVIII столетии. Музыкальная традиция горожан приобретала новомодные черты: воинские команды обладали штатами музыкантов; создавались гарнизонные и домашние оркестры при дворах высшего чиновничества, певческие коллективы, клубные объединения, проводились концерты, балы и маскарады. К концу XVIII столетия в Тобольске, Омске, Барнауле, Петропавловске и других сибирских городах начали работу городские театры, где было возможно познакомиться с современными жанрами – балетом, оперой, концертом. Развитие музыкально-театральной жизни сибирских городов имело специфические черты: значительная роль принадлежала местному и опальному чиновничеству, политическим ссыльным. Introduction. The article examines the musical and theatrical art formation in the culture of the Western Siberia urban population in the 18th century. Methods and materials. The goal is according to the documents kept in the Tobolsk national archives, a vassal heritage, as well as other sources, to trace the development of secular music and drama among the Western Siberia urban population in the 18th century. The methodological basis of the research was formed by general scientific methods and historic principles, objectivity and value-based approach, narrative, systemic, synergetic, and historical-comparative methods. This made it possible to see the musical and theatrical art as an open ties system with special specific features of development in the Siberian culture context and as a translator of the spiritual values of the proclaimed century. Analysis and results. Townspeople's festive culture new traditions were formed, where the religious and spiritual principle gradually gave way to peculiar phenomena of the secular culture. New reflection forms of the holiday were fixed in parades, lunches, dinners, official receptions of the population upper strata of the Western Siberia cities. Each city resident continued the holiday in accordance with his class status. The townspeople musical tradition was acquiring newfangled features: military teams had a musicians staff; garrison and home bands at the high officials courts; singing groups, club associations, concerts, balls and masquerades. Having an instrument at home – a piano or violin is considered a sign of the good tone. By the end of the 18th century, urban theatres in Tobolsk, Omsk, Barnaul, Petropavlovsk and other Siberia cities began to operate, where it was possible to familiar with modern types of ballet, opera, concert. Conclusion. The musical and theatrical life development of Siberian cities had specific features: it was introduced by local and disgraced officials, political exiles. The secular culture in the region was mainly concentrated among the small nobility of Western Siberia. One of the Siberian culture characteristics is the lack of serfdom and professional music education.

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Kruger, Marie. "The Relationship between Theatre and Ritual in the Sogo bò of the Bamana from Mali." New Theatre Quarterly 25, no. 3 (August 2009): 233–40. http://dx.doi.org/10.1017/s0266464x09000414.

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The Sogo bò, primarily an animal masquerade, can be distinguished from Western theatre through its use of a fluid space with shifting boundaries between spectator and performer. An oral tradition dictates the characterization, scenario, and content. The resemblance to ritual can be found in structural elements such as its repetitive nature and the use of non-realistic performance objects and motions. As in ritual, there is a clear sense of order, an evocative presentational style, and a strong collective dimension. The functional resemblance lies in the complex metaphorical expression through which relationships and values are symbolized, objectified, and embodied in a highly artistic way. Marie Kruger is an associate professor and the Chair of the Department of Drama at the University of Stellenbosch, South Africa, where puppetry is offered as a performance and research option. Her research is focused on masquerades in Africa and the various contemporary applications of puppetry in sub-Saharan Africa.

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15

Lapalma, Marina Debellagente. "Masculine Masquerade." Afterimage 18, no. 10 (May 1, 1991): 17. http://dx.doi.org/10.1525/aft.1991.18.10.17.

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16

Bowen, Kate. "Giving Hegemonic Masculinity a Face Lift: Masquerade in John Woo's Face/Off and the Somatechnics of Masculinity in Crisis." Somatechnics 11, no. 1 (April 2021): 10–26. http://dx.doi.org/10.3366/soma.2021.0337.

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In 1990s America, the question of what made a ‘real’ man was at the forefront of debates about sex and gender. During this pivotal moment in American history, hegemonic masculinity in particular was experiencing numerous threats to its ontological security. For instance, masculinity was infamously pronounced in crisis, the advent of the ‘new man’ betrayed anxieties about an image-conscious and feminine performance of masculinity, and there was mounting social pressure from civil rights, feminist, and queer groups for straight, white, masculinity to be challenged as the centre of the patriarchal stage. In short, the issue for masculinity in the 90s was that of legitimacy. The response from Hollywood was an influx of films which featured leading men in costume, disguise, or masquerade. John Woo's Face/Off is one such film that betrays anxieties about the constructedness of hegemonic masculinity. Face/Off does so through the motif of plastic surgery. In this article, I will explore how Face/Off uses the image of plastic surgery to represent the masculinities of its male protagonists as masquerades. I will demonstrate how plastic surgery in Face/Off is a device which transforms hegemonic masculinity so that it may adapt to the climate of crisis and secure its continuation. Face/Off demonstrates that masculinity is a construct which masquerades as an ontology.

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17

Nyam, Esther Akumbo. "Female Mask/Masquerade in Nigeria, Aesthetics and the Art of Secret Societies." Journal of African Theatre, Film and Media Discourse 1, no. 1 (February 14, 2020): 97–104. http://dx.doi.org/10.33886/kujat.v1i1.129.

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The Dramatic performance by actors in masks and costumes still remains enigmatic. The ideological context of mask, and masquerade in Africa is associated with the spirit world which is an act of secret society dominated by men’s world. This paper focused on the role, performances and contributions of women in masquerade performances in Nigeria. The symbolism of women’s aesthetics, cosmology, mythology, performance, Genre, audience participation, construction, and originators and custodians of mask and masquerade is highlighted as emerging trends of feminist discuss in contemporary theatre performances as central to women liberation in men’s dominated society. The paper concludes the role and place of women in taking the masquerade performances, economic, social, political, culture empowerment from it’s inception as custodians of Spiritism.

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18

Dodd, Luke. "Gender and the Art of Masquerade." Circa, no. 35 (1987): 26. http://dx.doi.org/10.2307/25557219.

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19

Knorr, Karen. "Vernacular Masquerades." Photography and Culture 3, no. 1 (March 2010): 107–10. http://dx.doi.org/10.2752/175145110x12615814378478.

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20

bermingham, ann. "Food Masquerade." Gastronomica 10, no. 2 (2010): 9–12. http://dx.doi.org/10.1525/gfc.2010.10.2.9.

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Radishes cut to look like roses, watermelons carved into fruit baskets, apples made into swans, cakes frosted to look like dolls——when did this game of food masquerade start and how? This essay speculates about food's on-going history of disguise, of pretending to be what it's not. From the Renaissance courtier's delight in confections disguised as beasts, birds, and other fancies to our present day fascination with Japanese bento lunch boxes, food masquerade would seem to be a fanciful part of the history of food. Food masquerade injects some levity into our growing seriousness about food, our suspicion that most supermarket food is riddled with toxins and bad karma. It proposes that eating food should be fun. Food masquerade also gets to the very heart of artistic visual representation: the magical transformation of paint, clay or wood into an image of something else. It is a synecdoche for art itself.

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21

Fagurel, Julia E. "More on the Existence of Masquerade Racing Sledges in Russiain the 18-th Century (according to the materials from the collection of carriages of the State Historical Museum)." Observatory of Culture, no. 4 (October 28, 2015): 122–27. http://dx.doi.org/10.25281/2072-3156-2015-0-4-122-127.

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The article is devoted to the existence of masquerade racing sledges - special carriages for court festivities - in Russia. Basing on the study of archival materials and monuments of the art of carriage-making from the State Historical Museum (SHM), the author identifies and analyzes some features of the masquerade racing sledges manufacturing and using and also determines chronological framework of the existence of this type of carriages in Russia.

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Chuluunbaatar, Uyanga, and Ian Mohr. "A herpesvirus kinase that masquerades as Akt." Cell Cycle 10, no. 13 (July 2011): 2064–68. http://dx.doi.org/10.4161/cc.10.13.16242.

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Olivieri, Ignazio, Angela Padula, Vincenzo Giasi, and Enrico Scarano. "Enthesitis of spondylarthritis can masquerade as Osgood-Schlatter disease by radiographic findings." Arthritis & Rheumatism 49, no. 1 (February 7, 2003): 147–48. http://dx.doi.org/10.1002/art.10916.

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24

Kuppers, Petra. "Disability Performance in the Streets: Art Actions in Post-Quake Christchurch." TDR/The Drama Review 59, no. 1 (March 2015): 166–74. http://dx.doi.org/10.1162/dram_a_00435.

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After a pilgrims’ walk in Christchurch, New Zealand/Aotearoa, on the anniversary of the deadly quakes, A Different Light Theatre Company, comprised of people deemed to have cognitive difference, creates their own small public intervention: a Christchurch masquerade.

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Barnwell, Andrea D. "Spirits in Steel: The Art of the Kalabari Masquerade." African Arts 31, no. 4 (1998): 80. http://dx.doi.org/10.2307/3337653.

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Cosentino, Donald J., and Herbert M. Cole. "I Am Not Myself: The Art of African Masquerade." African Arts 19, no. 1 (November 1985): 81. http://dx.doi.org/10.2307/3336392.

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Dwivedi, Surjeet K., Rakesh C R., Amit Gaur, Raj Mohan, and A. K. Ajin Anto. "Malignant masquerade: Clinician dilemma revisited." Journal of Dr. YSR University of Health Sciences 13, no. 1 (January 2024): 9–12. http://dx.doi.org/10.4103/jdrysruhs.jdrysruhs_20_23.

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Mimesis is a Greek word that means to imitate, while the word masquerade means pretending to be something or someone that he/she is not. In this case series of four cases pertaining to different organ subsets, we discuss and highlight the benign medical conditions, which pretended as neoplastic both clinically and radiologically preoperatively; however, the postoperatively histopathological report yielded surprising results. Though lots of literature on a malignant masquerade is available, there is a paucity of data on case series discussing the different subset organ involvement. These unique clinical scenarios also emphasize the fact that it is incorrect to judge a book by its cover. We would like to summarize our humbling experience in the word of William Osler “medicine is the science of uncertainty and art of probability.”

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Salami, Gitti. "Fusions: Masquerades and Thought Style East of the Niger-Benue Confluence, West Africa, by Richard Fardon. London: Eastern Art Publishing, 2007. Saffron Afriscopes Series, Issue 2, Chamba Arts in Context, Volume 2. 207 pp., 11 color photos, 30 b/w photos. £45.00 cloth." African Arts 43, no. 4 (December 2010): 88–91. http://dx.doi.org/10.1162/afar.2010.43.4.88.

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Asigbo, Alex Chinwuba, and Lotachukwu Loveth Amalukwue. "The Wandering Minstrel in Contemporary Nigerian Literature: A Study of Akachi Adimora-Ezeigbo and Ezenwa-Ohaeto’s Poetry." June-July 2023, no. 34 (June 13, 2023): 1–8. http://dx.doi.org/10.55529/jmcc.34.1.8.

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The art of minstrelsy is very prevalent in traditional African society. Minstrels abound in these societies and they are mostly regarded as singers, musicians or reciters of poems. They are notable for their itinerant nature which makes them familiar with the goings on in their immediate societies. Even with the transition of most African societies from oral to written culture as a result of colonialism which introduced the Western system of education in Africa, the activities of these minstrels have not ebbed. Instead, it has found renewed expression on the pages of the collection(s) of poetry of contemporary Nigerian and by extension, African poets. This paper studied two collections of poetry of the poets under study; Akachi-Adimora-Ezeigbo’s Heart Songs and Waiting for Dawn and Ezenwa- Ohaeto’s The Voice of the Night Masquerade and The Chants of a Minstrel. It employed Formalism (New Criticism) theory in the analysis of these works. This paper showed that Akachi Adimora-Ezeigbo writes from the angle of a wandering minstrel which affords her the opportunity to permeate different segments of her society. Ezenwa-Ohaeto on the other hand employed, not only the masquerade minstrel personae in his collection of poetry, The Voice of the Night Masquerade but equally structured the work on the circular movement associated with the entrance and exit of the Night masquerade. Also, he equally writes The Chants of a Minstrel from the angle of the mad man and itinerant minstrel persona. The research concludes on the note that these contemporary Nigerian poets studied have succeeded in continuing the art of minstrelsy prevalent in their cultural milieu even as they incorporate their wandering/itinerant nature in their works.

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Ross, Doran H. "Carnaval Masquerades in Guinea-Bissau." African Arts 26, no. 3 (July 1993): 64. http://dx.doi.org/10.2307/3337153.

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31

Hersak, Dunja. "Further Perspectives on Kifwebe Masquerades." African Arts 53, no. 1 (January 2020): 6–23. http://dx.doi.org/10.1162/afar_a_00511.

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32

Carlson, Amanda, and Peter Mark. "Women's Masquerade Issue." African Arts 31, no. 3 (1998): 11. http://dx.doi.org/10.2307/3337571.

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33

Argenti, Nicolas. "Review Article : Masks and Masquerades." Journal of Material Culture 2, no. 3 (November 1997): 361–81. http://dx.doi.org/10.1177/135918359700200305.

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34

Spence, Donald P. "When Interpretation Masquerades as Explanation." Journal of the American Psychoanalytic Association 34, no. 1 (April 1986): 3–22. http://dx.doi.org/10.1177/000306518603400101.

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35

Betiang, Liwhu. "Global Drums and Local Masquerades." SAGE Open 3, no. 4 (November 2013): 215824401351568. http://dx.doi.org/10.1177/2158244013515685.

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36

Pattynama, Pamela. "Assimilation and Masquerade." European Journal of Women's Studies 7, no. 3 (August 2000): 281–99. http://dx.doi.org/10.1177/135050680000700304.

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37

Vogel, Susan, and Mary Jo Arnoldi. "Sòmonò Puppet Masquerades in Kirango, Mali." African Arts 34, no. 1 (2001): 72. http://dx.doi.org/10.2307/3337736.

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38

Ottenberg, Simon, and Linda Knudsen. "Leopard Society Masquerades: Symbolism and Diffusion." African Arts 18, no. 2 (February 1985): 37. http://dx.doi.org/10.2307/3336187.

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39

Glaze, Anita J. "Dialectics of Gender in Senufo Masquerades." African Arts 19, no. 3 (May 1986): 30. http://dx.doi.org/10.2307/3336409.

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40

Kwahulé, Koffi, and Judith G. Miller. "Masquerade for the Wounded." TDR/The Drama Review 60, no. 3 (September 2016): 10–38. http://dx.doi.org/10.1162/dram_a_00569.

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Koffi Kwahulé’s Masquerade for the Wounded performs the trauma and marginalization of women who have been raped during a period of civil war. A short commentary accompanies the play, which has been translated from the French.

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Michaels, Leonard. "Truth in Triple Masquerade." Review: Literature and Arts of the Americas 53, no. 1 (January 2, 2020): 24–28. http://dx.doi.org/10.1080/08905762.2020.1748427.

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42

Breon, Robin. "Blackface: Thoughts on Racial Masquerade." Canadian Theatre Review 98 (March 1999): 60–62. http://dx.doi.org/10.3138/ctr.98.010.

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The image of the entertainer in blackface is one that is central to the iconography of North American popular culture. From the early days of nineteenth-century minstrel shows, through vaudeville and burlesque to countless films featuring Al Jolson, Eddie Cantor, Bing Crosby and numerous others, the imitations and parodies of blackface are a permanent fixture on our cultural landscape. Stage presentation was, of course, the origin of blackface, and curiously, it is the stage to which it has recently returned – or not returned as the case may be. Over the past few years, the creators of several productions playing in Toronto have had to choose whether “to do” or “not to do” blackface. Their answers have been as different as black and white.

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DOY, GEN. "MASQUERADE: REPRESENTATION AND THE SELF IN CONTEMPORARY ART BY RACHEL KENT (ED.)." Art Book 14, no. 1 (February 2007): 19–21. http://dx.doi.org/10.1111/j.1467-8357.2007.00757_2.x.

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Bumas, E. Shaskan. ""The Forgotten Art of Gayety": Masquerade, Utopia, and the Complexion of Empire." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 59, no. 4 (2003): 1–30. http://dx.doi.org/10.1353/arq.2003.0008.

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Barnwell, A. D. "SOKARI DOUGLAS CAMP: SPIRITS IN STEEL: THE ART OF THE KALABARI MASQUERADE." Nka Journal of Contemporary African Art 1998, no. 9 (September 1, 1998): 67. http://dx.doi.org/10.1215/10757163-9-1-67.

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Wekselberg, Victor. "When Assessment Masquerades as Personality Theory." Journal of Personality Assessment 58, no. 3 (June 1992): 634–37. http://dx.doi.org/10.1207/s15327752jpa5803_17.

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Staking, Kimberlee. "Spirits In Steel: The Art of the Kalabari Masquerade:Spirits In Steel: The Art of the Kalabari Masquerade." Museum Anthropology 22, no. 3 (December 1999): 59–64. http://dx.doi.org/10.1525/mua.1999.22.3.59.

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Zeitlyn, David. "Mambila Figurines and Masquerades: Problems of Interpretation." African Arts 27, no. 4 (1994): 38. http://dx.doi.org/10.2307/3337317.

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Reed, Bess. "Playing with Prohibitions: Women, Agency, and Masquerades." African Arts 31, no. 2 (1998): 71. http://dx.doi.org/10.2307/3337522.

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Doctors, Steven I. "The Collaboration/Co-work Masquerade." International Journal of Design Management and Professional Practice 13, no. 3 (2020): 31–42. http://dx.doi.org/10.18848/2325-162x/cgp/v13i03/31-42.

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