Gold, Ivory, and certain foods were coming from Africa, while silk, fabric, and spices were coming
These mask reminded me of different rituals that is practiced in the Haitian culture. However, I believe that these mask were used in Africa for very specific rituals to contact certain Gods for different personal reasons. In addition there was an African sculpture of a woman with a fabricated wig. Once of seen this sculpture I envision all of the less fortunate women in Africa that have to struggle day in day out to make ends meet. This sculpture is very powerful because it reminds people of the struggle that women had and still have today.
He wants people to avoid thinking that developing only one true self identity is healthy. A mask allows an individual to see his or her full potential by not having a true identity. Masks have multiple identities based on the certain situations and environments (circumstances) the person is having(undergoing). I agree with Gergens interpretation (assertion) and his psychological
In West Africa, the Niger River provided gold to West Africa. The presence of gold throughout Africa contributed to abundant wealth throughout the medieval empires. Al Bakri, an Arab scholar, showed that the Ghana Empire used gold to decorate their horses, swords, and hair(Doc 1). The use of gold as decorations demonstrates that the western empires had abundant gold that could be used for other purposes besides trading.
The mask helps him forget about what happened earlier because he now feels he is able to kill without having to keep his reputation for the
Those masks were those that resembled death and their gods. The god of fire (Xiuhtecuhtli) was used within these rituals by mask. Xiuhtecuhtli was "thought to be the creator of all life." The Mask of Xiuhtecuhtli was made with a base of cedar wood and decorated with pieces of turquoise atop it. The turquoise was hand-cut and shaped to resemble the 3d
and and Colorguard have been practicing constantly, and achieved many awards during the last few parades. The members of Colorguard and Band have been working their tails off every day to ensure more achievements in the future. Band members have been practicing everyday to get everything right. They start practice at 7:40 a.m, and play through the first period of the day with another period for Concert Band and after-school practices until 9 p.m. To get prepared for competitions, they all must arrive on time and do the visual and music parts of their warm-ups.
Juliet, who is from the wealthy Capulet family, is wearing this dress to the masked party. Women in the Elizabethan era would have worn loosely-fitted, square necked gowns along with a mask, due to the occasion being a masquerade. The golden lining, pearls, complex embroidery, and silver symbolizes the wealth of the Capulet family. Silk, often imported from Asia, would be used to create the the gown to cover the spanish farthingale and corset. The dress is mainly dyed the color pink because the color is associated with ladies and young girls.
It is old-style, but holds monumental value to a prehistoric culture. Consequently, the mask didn’t belong to the Aztecs, due to its age. It belonged to the Olmec culture that began to thrive between 1500 and 1200 B.C.E. It’s important because it is a prime example of several Olmec features, such as upturned
The mask is the hard shell that young men are expected to face the world with. They are expected to show only their best selves and hide their insecurities and worries. The mask is incredibly relatable to the social construction of gender, because it was created through the social construction of gender. Young males would not need to create a mask and live behind it if society didn 't force them too.
It is, obviously, a symbolic one, that is meant to hide the suffering of people. It hides everything, “our cheeks and […] our eyes”, and “the eyes [being] the mirror of the soul”, the mask hides the inner you. (Dunbar, l. 2) (Paulo Coelho, Manuscript Found in Accra). But, in addition to the hiding, there’s also the lie about the emotion. Indeed, the mask isn’t only meant to hide the emotions, but also to create new ones on the surface, as we can see when the author said “We wear the mask that […] lies” (Dunbar, l. 1).
According to the gallery walk it said that they made shoes, clothes, paper money, and fireworks. Those are the things that we use everyday in our life. The
The Relation of Life and Fiction in Modern Japanese Literature Second Paper Fumiko Enchi, Masks Masks by Fumiko Enchi is a novel which depicts outstanding female characters who behave far from how a traditional, good woman should behave. These characters are the center of the story, a story which revolves mainly around Mieko, even though one might think when starting to read the book that the main plot is about Yasuko and her two potential lovers, Ibuki and Mikame. Far from that, the story gains in intensity as the plot progresses and we begin to know the motivations behind the characters. One of the first things worth talking about is the title of the novel: Masks (or, its original title女面 onna men- woman masks).
The small mask is a wood sculpture with pigment and were created around the late 19th to early 20th century. The masks were painted depicting anything from animals to human caricatures. The mask is symmetrical, “one of a kind”, and had lustrous curving surface that suggested clean healthy skin. Most of the masks represent an individual idealized by the Baule standards of beauty; a broad forehead, long nose, pronounced eye sockets, introspective, and peace. The portrait mask not only indicated beauty, but also refinement and desire to please others.
Rather than a prop, a Noh mask is “the projection of the creator’s inner life inherent in the mask itself”, and is a companion with “magical and supernatural powers” to the actor. The masks not only show what the actor becomes on the surface, it transforms the actor, into what the mask is momentarily. Noh masks are treated with extreme reverence- even the act of putting on a mask by an actor is a ritualistic process. Traditional Noh actors sometimes meditate on the chosen mask months before a performance. This special relationship between a Noh actor and his mask is part of what makes for a guide to spiritual awakenings and enlightenment, for the actor to achieve a heightened ability to see beyond the surface of the mask, into a transpersonal state for the actor wearing the mask.
