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Introduction, Masquerade as an Artistic Pulse of the City -- "Face No Fear Face:" Unmasking Youths -- "If they Burn it Down, We will Build it Even Larger:" Confrontations of Space -- "People Hear at Night:" Sounds and Secrecy of Nocturnal Performance -- "Idagha Chieftaincy was Nothing like what it is today:" The Spectacle of Public Performance -- "We Call it Change:" An Artistic Profile of Artist Ekpenyong Bassey Nsa -- "Look at it, Touch it, Smell it-this is Nnabo:" Trajectories and Transformations of "Warrior" Societies -- "For this Small Money, I No Go Enter Competition:" Masquerade Competition on a Global Stage -- "I know Myself:" Masquerade as an Artistic Transformation -- Coda: "I Think About my Kids and Feeding Them".
A revisionist account of African masquerade carnivals in transnational context that offers readers a unique perspective on the connecting threads between African cultural trends and African American cultural artifacts
From Nigerian author Pemi Aguda comes "Masquerade Season," a Tor.com Original short story Pauly is a good son. When he brings home three beautiful Masquerades, he's expecting that his mother will be proud of him. But when his mother begins asking favors of his Masquerades, he realizes that being a good son sometimes means disobeying. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
First published in 1997. In the 'Masquerades of Nigeria' and 'Touch', the fourth volume of his mask: A Release of Acting Resources, David Griffiths investigates the use of mask in the Masquerade traditions of West Africa, and specially of Nigeria. The author persuasively argues in favour of a common language of masek performance, and focuses particularly on the manner in which the Nigerian dramatist Wole Soyinka explores the theatrical virtuosity and vibrancy of mask in his plays, specially his 'root' play 'A Dance in the Forests'. David Griffiths then presents his short Trilogy of plays, under the title 'Touch' which he created to explore the intricate subtleties of African mask in a manner accessible to Western actors. 'Touch' is based on Soyinka's play and arguably needs that as a point fo reference- but being directed to rad Soykina is to everyone's benefit.
An award-winning literary author enters the world of magical realism with her World Fantasy Award-winning novel of a remarkable woman in post-apocalyptic Africa. Now optioned as a TV series for HBO, with executive producer George R.R. Martin!
Maske is an album of Phyllis Galembo's powerful and thrilling masquerade photographs, from Nigeria, Benin, Ghana, Sierra Leone, Burkina Faso, Zambia, and Haiti. Introduced by art historian Chika Okeke-Agulu, Galembo's pictures describe traditional masqueraders and carnival characters and are themselves works of vivid artistic imagination.
Ema and Eno are excited to join the Ekpe Masquerade once again! A time of giving thanks to the Gods for providing Nigerian Clans with full harvests, the Harvest Time Masquerade is an important tradition where Ekpe Society members honor the Earth and skies for rendering favorable conditions for their crops. Ema, only ten-years-old, is wise and wants to guide her four-year-old brother, Eno, who hopes to be initiated as an Ekpe when he grows up. This delightful tale captures the magnificent essence of this wonderful time for the various clans across Nigeria, in the heart of Western Africa.
This remarkable study explores the use of the visual and performing arts to promote nonviolence and social harmony in sub-Saharan Africa. It focuses on Gelede, a popular community festival of masquerade, dance, and song, held several times a year by the Yoruba of Southwestern Nigeria and the Republic of Benin. Babatunde Lawal, an art historian and African scholar who has taught in Nigeria, Brazil, and the United States, is himself a Yoruba and has taken an active part in Gelede. He writes from the perspective of an informed participant/observer of his own culture. Lawal bases his book on extensive field research--observations and interviews--conducted over more than two decades as well as on numerous published and unpublished scholarly sources. He casts significant new light on many previously obscure aspects of Gelede, and he demonstrates a useful methodological approach to the study of non-Western art. The book systematically covers the major aspects of the Gelede spectacle, presenting its cultural background and historical origins as preface to a vivid and detailed description of an actual performance. This is followed by a discussion of the iconography and aesthetics of costume, and an examination of the sculpted images on the masks. The book concludes with a discussion of the moral and aesthetic philosophy of Gelede and its responsiveness to technological and social change. The Gelede Spectacle is illustrated in color and black-and-white with over 100 field and museum photographs, including a rare sequence on the dressing of a masquerader. It offers, in addition, more than 60 Gelede song texts, proverbs, and divination verses, each in the original Yoruba as well as in translation. Lawal's interpretations of these pieces indicate the rich complexities of metaphor and analogy inherent in the Yoruba language and art.