African masks are one of the most widely recognised African art forms. They have a great deal of symbolism, and are used in numerous ceremonies all across Africa. Every nation and tribe makes their masks a little differently, so they are all unique to the area where they are made. You can find African masks hanging in many museums and on sale in ethnic markets.
Many African masks depict animals, because they are believed to link tribesmen with the land and nature around them. Some common animals that are carved into masks are the hawk, crocodile and buffalo.
African masks are used in a number of different ceremonies. Most of these are funerals, ceremonies celebrating agriculture and initiation ceremonies for boys who are transitioning into men.
Masks are usually made with the ancestry of a tribe in mind. They often have zigzagging lines carved into them, which represent the ups and downs of the tribe and tells a story of their past.
African masks can be made from a number of different materials. These include various types of wood, metal and other organic materials that are often found in Africa.
African masks are not only worn during ceremonies. Special masks that exhibit anger and aggressiveness are worn by tribes during times of war.
http://www.lotusmasks.com/category/History-African-Masks.html
In Africa, masks can be traced back to well past Paleolithic times. These art objects were, and are still made of various materials, included are leather, metal, fabric and various types of wood.
African masks are considered amongst the finest creations in the art world and are highly sought after by art collectors. Many of the pieces some replica's, can be viewed in museums and art galleries in many parts of the world. Masking ceremonies in Africa have great cultural and traditional significance. Latest developments and understanding of Aesthetic principles, religious and ceremonial values, have brought about a greater insight into the ideas and moral values that African artists express in their art.
During celebrations, initiations, crop harvesting, war preparation, peace and trouble times, African masks are worn by a chosen or initiated dancer. It can be worn in three different ways: vertically covering the face: as helmets, encasing the entire head, and as crest, resting upon the head, which was commonly covered by material as part of the disguise. African masks often represent a spirit and it is strongly believed that the spirit of the ancestors possesses the wearer.
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https://www.youtube.com/watch?v=HZwMX6T5Jhk
This is a song by Kayne West that involves dancers and African costumes and masks in it!
https://www.youtube.com/watch?v=YI4sDx6SGwA
This is a song called 'Oh Africa' and has loads of different masks, painted bodies and so on!
https://en.wikipedia.org/wiki/Mask#Ritual_masks
There are a wide variety of masks used in Africa. In West Africa, masks are used in masquerades that form part of religious ceremonies enacted to communicate with spirits and ancestors. Examples are the masquerades of the Yoruba, Igbo, and Edo cultures, including Egungun Masquerades and Northern Edo Masquerades. The masks are usually carved with an extraordinary skill and variety by artists who will usually have received their training as an apprentice to a master carver - frequently it is a tradition that has been passed down within a family through many generations. Such an artist holds a respected position in tribal society because of the work that he or she creates, embodying not only complex craft techniques but also spiritual/social and symbolic knowledge. African masks are also used in the Mas or Masquerade of the Caribbean Carnival.
GREEK THEATRE: https://greektheatre.wordpress.com/home/
The Greek term for mask is persona and was a significant element in the worship of Dionysus at Athens, likely used in ceremonial rites and celebrations. Most of the evidence comes from only a few vase paintings of the 5th century BC, such as one showing a mask of the god suspended from a tree with decorated robe hanging below it and dancing and the Pronomos vas, which depicts actors preparing for a Satyr play. No physical evidence remains available to us, as the masks were made of organic materials and not considered permanent objects, ultimately being dedicated to the altar of Dionysus after performances. Nevertheless, the mask is known to have been used since the time of Aeschylus and considered to be one of the iconic conventions of classical Greek theatre.
Mask details
Illustrations of theatrical masks from 5th century display helmet-like mask, covering the entire face and head, with holes for the eyes and a small aperture for the mouth, as well as an integrated wig. It is interesting to note that these paintings never show actual masks on the actors in performance; they are most often shown being handled by the actors before or after a performance, that liminal space between the audience and the stage, between myth and reality. This demonstrates the way in which the mask was to ‘melt’ into the face and allow the actor to vanish into the role. Effectively, the mask transformed the actor as much as memorization of the text. Therefore, performance in ancient Greece did not distinguish the masked actor from the theatrical character.
Mask functions
In a large open-air theatre, like the Theatre of Dionysus in Athens, the classical masks were able to bring the characters’ face closer to the audience, especially since they had intensely over-exaggerated facial features and expressions.
The actor can reappear on stage at least several different types of characters. In commedia, you cannot do this as it can confuse the audience. You can only have one mask each and nobody else can use your mask in commedia as it confuses the audience, and does not make sense. Where as in Greek theatre you can come back on in several different roles.
https://en.wikipedia.org/wiki/Theatre_of_ancient_Greece
Greek tragedy as we know it was created in Athens around the time of 532 BC, when Thespis was the earliest recorded actor. The plays had a chorus from 12 to 15 people, who performed the plays in verse accompanied by music, beginning in the morning and lasting until the evening. The performance space was a simple circular space, the orchestra, where the chorus danced and sang. The orchestra, which had an average diameter of 78 feet, was situated on a flattened terrace at the foot of a hill, the slope of which produced a natural theatron, literally "watching place". Later, the term "theatre" came to be applied to the whole area of theatron, orchestra, and skené. The coryphaeus was the head chorus member who could enter the story as a character able to interact with the characters of a play. In 465 BC, the playwrights began using a backdrop or scenic wall, which hung or stood behind the orchestra, which also served as an area where actors could change their costumes.
The actors in these plays that had tragic roles wore boots called cothurni that elevated them above the other actors. The actors with comedic roles only wore a thin soled shoe called a sock. For this reason, dramatic art is sometimes alluded to as "Sock and Buskin".
Melpomene is the muse of tragedy and is often depicted holding the tragic mask and wearing cothurni. Thalia is the muse of comedy and is similarly associated with the mask of comedy and the comedic "socks".
Distinctive styles of masks began to emerge in pre-Hispanic America about 1200BC, although there is evidence of far older mask forms. In the Andes, masks were used to dress the faces of the dead. These were originally made of fabric, but later burial masks were sometimes made of beaten copper or gold, and occasionally of clay.
For the Aztecs, human skulls were prized as war trophies, and skull masks were not uncommon. Masks were also used as part of court entertainments, possibly combining political with religious significance.
In post-colonial Latin America, pre-Columbian traditions merged with Christian rituals, and syncretic masquerades and ceremonies, such as All Souls/Day of the Dead developed, despite efforts of the Church to stamp out the indigenous traditions. Masks remain an important feature of popular carnivals and religious dances, such as The Dance of the Moors and Christians. Mexico, in particular, retains a great deal of creativity in the production of masks, encouraged by collectors. Wrestling matches, where it is common for the participants to wear masks, are very popular, and many of the wrestlers can be considered folk heroes. For instance, the popular wrestler El Santo continued wearing his mask after retirement, revealed his face briefly only in old age, and was buried wearing his silver mask.
https://en.wikipedia.org/wiki/Mask#China
In China, masks are thought to have originated in ancient religious ceremonies. Images of people wearing masks have been found in rock paintings along the Yangtze River. Later mask forms brings together myths and symbols from Shamanism and Buddhism.[37]
Shigong dance masks were used in shamanic rituals to thank the gods, while nuo dance masks protected from bad spirits. Wedding masks were used to pray for good luck and a lasting marriage, and "Swallowing Animal" masks were associated with protecting the home and symbolised the "swallowing" of disaster. Opera masks were used in a basic 'Common' form of opera performed without a stage or backdrops. These led to colourful facial patterns that we see in today's Jingju (Beijing Opera).
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