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History of Carnival masks
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The Venetian Carnival Masks is an old tradition held in Venice, Italy. The celebration ends forty days before Easter. The masks are decorated with beads matching in color. they were generally wore to hide the identity and the social status of the user. The masks would allow the wearer to be able to act freely and interact with others without the knowing their identity. Women started to become more revealing with their clothing when wearing masks, even the nuns and monks of the clergy started doing the same acts. Later the wearing of the masks was banned and only able to be worn for a certain time during the year. Carnival masks are usually made of porcelain or paper mache making them either very fragile or heavy. Mainly when making the masks …show more content…
After the mold was let dry and places into an oven, an artist would take it and make the eyeholes and would place the wax over the mask. There are many different types of Venetian Masks. The first is The Bauta, this mask has a squarish jaw, large chin and no mouth it covers the whole face. These masks are generally worn by men who want to get lost in the crowd and break a few rules. The secondary mask is The Colombiana, this mask is a half-mask and it is heavily decorated, generally worn by women and mainly cover eyes cheeks and sometimes the nose.They are worn by women who are not afraid to express themselves. Last but not least The Pantalone, this mask has sizeable noses that look like a beak and has slanted eyes. This mask is used by the joker of the group, the man that usually starts a conversation, makes friends and tells the funniest jokes. These masks were worn to a Cocktail Party or a Masked Ball. By the eighteenth century the venetian carnival masks where no longer being worn by the venetian people, when venice became part of the Austrian held kingdom of Lombardy Venetia when Napoleon signed the treaty of Campo
The mask is part of the ceremony known as "the Dance of the Goats” or La Danza de los Chivos. The mask on masksoftheworld.com is from Chilpancingo, State of Guerrero, Mexico. However, the traditional Dance of the Goats began in Zitlala, State of Guerrero, Mexico. The villagers created the dance after the Mexican Revolution in 1910. After the war, an epidemic took place that eliminated almost all livestock in the area. Even with the epidemic, the people were able to complete the construction of their primary church, but afterwards were left with nothing. They decided to approach the patron saint of the village, St. Nicholas to express their concerns and worries. Once they were before him, they dressed and danced as goats. Afterwards, the villagers believed that Saint Nicholas had performed a miracle. From then on, they perform the ceremony every year on the day of St. Nicholas on September 10th. The dance represents the tradition of rural life that portrays peasant life and the daily struggle to keep the heritage of peasant families alive. The idea is to capture daily life through art. The purpose of the mask used in this dance is to transform the dancers into the character of a goat.
...the masks in the form of a cape-like garment in order to cover the dancer who wore it. (Waldman, 41-43)
This artwork was worn as a helmet rather than something that covered the face like a traditional mask would. With it, a raffia would be worn under it that did cover the face. A special thing to note this mask is that it is a masquerade worn by a woman and performed for women. Women in masquerade ritual masks is not typical of most societies. The mask was used as a learning tool in dance to teach girls various lessons. The mask would embody a spirit while being danced but outside of imitation, when not in use, the sprit would vacate the mask.
William Shakespeare once proclaimed that “the past is prologue.” Are we really bound by history? Is our present a mere continuation, a monomorphic continuation if you will, of the novel that is our existence, or can it be developed in a bifurcated fashion? Paul Lawrence Dunbar, prominently noted as the "Poet Laureate of the Negro Race" (p 905) is a prime example of how the past can be depicted in a multifold manner. His two works " We Wear the Mask" and "An Ante-Bellum Sermon" illustrate the double-consciousness that Dunbar was most notorious for. It must be noted, however, that these two works, despite differing in forms of dialect, are conflations of one source, through an intrinsic connection. One will evidently see both the apparent polarity and hidden exemplification associated with the implementation of duality within the aforementioned poems. Dunbar's ability to conflate the standard English verse and the "Negro" dialect not only enables him to illustrate yesterday's hardships but also tomorrow's promises, in which each poem in itself epitomizes the properties of bifurcation through juxtaposition and exemplification.
II. The upper class of the masquerades clothing was very expensive and detailed. “Fantastic Costumes representing Greek Gods and Goddesses on Mount Olympus, fairies and mythical creatures were created.” (Elizabethan Masques)
This is almost a tribal ritual making a mask. The boys use masks to cover their identity and this allows them to kill.
Leading up to the celebration the girls are taught a certain dance that must be performed at the ceremony. “the new initiates are brought into town for the first time since the initiation process began…” At the ceremony the Mende girls wear a Sowei mask and costume which is considered to be the embodiment of the river spirt Sowo. Once the mask and costume is on the person transforms and her actions are no longer hers but are the actions of the spirt Sowo. A sacred dance is performed and dance moves represent the strength and power of woman as members in the Mende community. “Sowo mask are divided into three structural components- the neck, face, and coiffure. Carved from a single block of lightweight wood, the masks weigh only two to four pounds. The mask displays a shiny black surface representative of the value assigned to smooth dark skin.” The rings around the masks neck demonstrates a trait that is considered beautiful in Mende cultures. Every mask has a different hairstyle, representing the style of the woman the mask is made for, you can see items such as shells, metal and claws on the coiffure.
...sion called the designator, and there would people wearing masks made of wax to represent the deceased and their ancestors. (Gill) At first when they did the funeral processions, they all took place at night. As the traditions slowly changed over time; this tradition was only used for the poorer of the people.
This type of ethnicity is rooted in immigrants of European descent. It could be the Feast of Saint Anthony or Columbus Day for the Italians. The Kosciusko Day Parade for the Polish, the Puerto Rican Day Parade, the St Patrick's Day celebrations for the Irish, the Greek festivals and carnivals held at the various Greek Orthodox churches and German festivals that abound during Oktoberfest in the five county area in the course of a year. These are parades and celebrations are attended by county commissioners, mayors and governors and are usually televised on the local network. They are functions that celebrate the ethnicity of the people. In many cases, the participants dress in traditional garb and eat traditional foods.
Funnily drag did not n’t start out as a form of expression but as a necessity. In Ancient Greece, women could not n’t perform in plays because it was considered deemed “too dangerous”(Conger). In the middle ages, Europe’s Christian church continued the ban
Paul Laurence Dunbar’s “We Wear the Mask” is a lyric poem in which the point of attraction, the mask, represents the oppression and sadness held by African Americans in the late 19th century, around the time of slavery. As the poem progresses, Dunbar reveals the façade of the mask, portrayed in the third stanza where the speaker states, “But let the dream otherwise” (13). The unreal character of the mask has played a significant role over the life of African Americans, whom pretend to put on a smile when they feel sad internally. This ocassion, according to Dunbar, is the “debt we pay to human guile," meaning that their sadness is related to them deceiving others. Unlike his other poems, with its prevalent use of black dialect, Dunbar’s “We Wear the Mask” acts as “an apologia (or justification) for the minstrel quality of some of his dialect poems” (Desmet, Hart and Miller 466). Through the utilization of iambic tetrameter, end rhyme, sound devices and figurative language, the speaker expresses the hidden pain and suffering African Americans possessed, as they were “tortured souls” behind their masks (10).
Paul Laurence Dunbar, dispatches the cold troubles of African Americans in the lyrical poem, "We Wear the Mask." In this poem, Dunbar links imagery, rhythm, rhyme, and word choice to in order to institute a connection to the reader. From reading the poem, one can infer that Mr. Dunbar is speaking in general, of the misery that many people keep concealed under a grin that they wear very well. But if one were to go further and take the time to research Mr. Dunbar’s selection of this piece and the era of which this poem was written, one would come to understand that this poem focuses entirely on Paul Laurence Dunbar’s viewpoints on racial prejudice and the struggle for equality for the African-American’s of his time period. Though this analysis is not based on the meaning of this poem, it is necessary that in order to demonstrate the sound of analysis, one must first understand the poem.
The preparation for this big event starts months in advance. Cofradias are the like the coordinators of the event. In English, Cofradias means brotherhood and they work together to plan and make sure the entire holiday is taken care of. They are also known as the “Heart of the Holy Week”. Confradias have to map out the route of the parade for every day of the week. The parts of the parade that are on main streets have bleachers on the sides for seating. However, these seats must be booked far in advance and are very costly. Cofradias also have to make sure that there are police and security so that the holiday is safe and peaceful. After the day’s parade ends, there are crews that come out and clean the streets. The Confradias are in charge of taking care of the Jesus and Virgin Mary throughout the year and that al...
There are times in life where we are forced to do something we do not really want to do. There are certain situations like this that come to my mind. Every so often, my family gets together. As a teenager, I do not want to be confined. I realize some of my relatives are a lot older than me and I should spend as much time with them as I can. When my family gets together, I frequently am forced to go to these events and put a smile on my face. I am acting. I am putting on my “mask” and pretending that I am happy. This artificial face is the subject of Paul Laurence Dunbar’s poem, “We Wear the Mask.” Dunbar expresses his feelings on what African-Americans were forced to do a century ago. People thought they were happy doing the work they did for the white culture. In reality, they were not. That is the point Dunbar tries to explain to his readers.
The Merchant of Venice explores the theme of Appearance versus Reality. The theme is supported with many examples in the form of characters, events and objects.