Outlines and Focus Questions

Only numbered items

(and other items indented with hyphens below them, or bolded)

will be used in the exam for this class.

The Power of Masks (Chapter 1) Link to Chapter 1 Questions

Definition of a Mask

1. Universality of Masks

Classifications of Masks (Function, Type, Style)

- Functions of Masks (Ritual, Performance, Psychological)

2. - Types of Masks (Face, Helmet, Headdress)

3. - Styles of Masks (Naturalistic, Expressionistic, Abstract)

4. Origins of Masks

- Earliest uses of masks (Hunting, Re-enactments, Warfare)

Cave Paintings

Trois Freres

Tassil, Algeria

5. Ritual

- Community participation

- Significance of myth

6. - Sympathetic Magic

Folktales

Repetitive nature of ritual dance

Masks of Antiquity

7. Burial masks and Deathmasks

Skull Masks

Greek and Roman theatre masks

The World of Masks

African; European; American; Asian;

Masks as Integrated Humanities

The Mask as a Window into Cultures

African Masks (Chapter 2) Link to Chapter 2 Questions

Origins of African Masks

8. African World View

- Fused Oneness

- Group Identity,

- Concept of the Soul

African Myth

Subjects of myths

Griot

Ritual and Mask

9. Purpose behind African ritual

Batchokwe Initiation

10. Mask making

- Importance of the African Carver

Style Regions

West Africa

11. Dan Masks

Equatorial Africa

12. Kifwebe Masks of the Songye

East Africa

13. The Odo Festival

- Igbo Belief in the Dead

- Preparations for Odo Festival

- Odo Character Types

- Obilenu Music

- Akawo Odo Drama

Theatre and the Mask (Chapter 3) Link to Chapter 3 Questions

The Mask as Central to Theatre

Icon for theatre

Dramatis Personae

14. "Willing Suspension of Disbelief"

Masks as symbols

15. Origins of Theatre

- Thespis

Similarities of Theatre and Ritual

Theatrical Elements

Imitation

Order

Community

Use of masks

Entertainment

16. Difference between Theatre and Ritual (Purposes)

The Actor and the Mask

Theatres with Masks

Egypt

Abydos Passion Play

17. Masks of ancient Greece

- The City Dionysia

- The Chorus

Rome

Different purposes for drama

Realism in masks

Mimes

Asia

Origins

Common characteristics in Asian Masks

India

China

18. Chinese Opera

Japan

19. Noh Drama

Kabuki

Medieval Theatre

Renaissance Europe

Masques

20. Commedia dellπarte

Twelfth Night by William Shakespeare

Orsino, Viola, Olivia, Sebastian

Toby Belch, Aguecheek, Malvolio, Feste, Maria

Modern Theatre

Political Theatres

Bertolt Brecht and Epic Theatre

Teatro Campesino (Farmworkerπs Theatre)

"Las Dos Caras del Patroncito" by Luis Valdez

Cesar Chavez and The Grape Strike, Delano, CA 1965

Esquirol (Sign and hat)

Patroncito (Pig Mask and cigar)

Charlie (Ape Guard)

African Theatre

The Psychology of Masking (Chapter 4) Link to Chapter 4 Questions

21. Carl Jung and Sigmund Freud

- Dream Analysis

22. - Repression

Introversion

Extroversion

Psyche (Personal Unconscious and Collective Unconscious)

23. Persona

- Archetype

- Animus and Anima

Individuation

European and American Masks (Chapter 5) Link to Chapter 5 Questions

European Masks:

Cave paintings

24. Origins of Halloween

25. The Christian Reversal on Masks

26. The Origins of Carnival

Influence of the Protestant Reformation

Masking in Peasant Cultures Today

American Masks:

27. The Shaman

Myth and Ritual

Quetzalcoatl

28. The Rabinal Achi, Mayan Ballet-Ritual

Inuit Masks

Connection with Spirit World

Pacific Northwest Masks

29. Totems

- Raven

30. The Story of Dash-Kayah and its message

Potlach

United States Tribes

31. Iroquois Masks

- False Face Healing Rituals

- How False Face broke his nose

- Cornhusk Face Masks

Southwest Tribes

Purpose behind Zuni and Hopi ritual

Kachinas

Mexican Masks

Purposes of Mexican Masks (Contemporary & Pre-Hispanic)

The Christian Reversal on Masks in Mexico

Participation in masked dances

Zitlala jaguar warriors

Maestros

32. Cordryπs Categories of Masks

- Historical

- Malinche

- Christian

- Moors and Christians

- Nature-Related

- Occupational

- Entertainment

- El Muerte (Death)

33. - El Diablo (Devil)

Central and South American

Guatemala

Moreria

Caribbean

34. Jonkonnu

The Mask and the Arts (Chapter 6) Link to Chapter 6 Questions

Introduction - Mystery of the Other Face

Latin for ≥mask≤

Dramatis Personae

35. Power of masks in art

Literature and the Mask

36. ≥We Wear The Mask≤ by Paul Lawrence Dunbar

37. "Patterns" by Amy Lowell

≥The Ministerπs Black Veil≤ by Nathaniel Hawthorne

Father Hooper, Sexton of Milford Congregation

Response of townspeople to his mask

Morning Service; Funeral; Wedding;

Elizabeth Scene; Hooper's Death Scene

Hooper's intention in wearing his veil

Hawthorne's intention in writing the story

Dance and the Mask

Difference between dance, theatre and ritual

Greek

Rome

Pantomime

Medieval

Renaissance

Modern

Native American

Ghost Dance

Booger Dance

Yaqui Easter Dance

38. The Mask in Painting and Sculpture

- Primitivism

39. - Pablo Picasso

Emil Nolde

Henry Moore

Asian/Pacific Masks (Chapter 7) Link to Chapter 7 Questions

Introduction:

40. Eastern Arts vs. Western Arts

- Religion & Philosophy (contrast with West)

- Islamic ban on images

- Importance of Dance in the East

41. Shared Literatures

- Mahabharata

- Ramayana

India

Cave Paintings

Sri Lanka

42. Buddha and the Sickness Demon

Nepal & Bhutan

Effect of Elevation

Thailand

Totsaken

Indonesia

43. Java

- Shadow puppets

43. Bali

- Rangda

Taksu

44. Archetypes vs. Star System

China

45. Korea

Japan

Oceania

Melanesia

Papua New Guinea

Chapter Questions

HUM310: The Power of Masks

The Power of Masks (Chapter 1)

1. Describe what is meant by the Universality of Masking.

Have masks been used by all cultures?

Why is the universality significant?

2. Describe the three basic types of masks.

Does the type suggest its use?

3. Describe the three basic styles of masks.

How are they significant?

4. How did masks originate?

What were the earliest uses of masks?

5. Define a ritual.

What elements are necessary for a ritual ceremony?

Give an example or a ritual that includes some or all of these elements.

6. What is "sympathetic magic" and how was it believed to influence the use of masks in ritual?

7. Describe the difference between burial masks and death masks.

Find an example of each.

African Masks (Chapter 2)

8. According to Ladislas Segy, how does the African view his or her world?

9. What is the purpose behind African ritual?

10. How are African masks carved?

Describe the materials used, the carver and his tools, and any ritual aspects involved in the process of creation.

11. What are some of the functions of Dan Masks.

What are the most dominant features that characterize every Dan mask?

12. What distinguishing characteristics define the Kifwebe masks of the Songye tribe?

13. What is the Igbo belief in the dead and how does the Odo Festival help the community to develop social cohesion?

What happens in the Akawo Odo Drama that provides a lesson for the youth of the community?

Theatre and the Mask (Chapter 3)

14. Describe the phrase "willing suspension of disbelief," and how it helps an audience to participate in theatre.

15. How did theatre begin?

Why were masks used in theatre in its early development?

16. How is theatre different from ritual?

Use two examples to show this difference.

17. How were masks and choruses used in classical Greek Drama?

Describe the City Dionysia.

18. How is the color of Chinese Opera masks significant?

What do they represent?

19. Why are the masks from Noh Drama deliberately made to represent simple contours in the face?

Is there anything in the values of Noh that may explain the austere look?

20. Why were masks important to the commedia dell'arte?

Describe one character from commedia and their dominant qualities.

The Psychology of Masking (Chapter 4)

21. How were Sigmund Freud and Carl Jung similar, and different?

22. Describe the concept of psychological repression, and how it affects human behavior.