Mask is an object normally worn on the face, usually for protection, disguise, performance, or entertainment. Masks have been used since ancient times for ceremonial and practical purposes. They are usually worn on the face, although they can also be positioned for effects elsewhere in the body of the wearer. In parts of Australia, gigantic totem masks cover the body, while Inuit women use finger masks during storytelling and dancing.
Video Mask
Etimologi
The word "mask" appeared in English in the 1530s, from the Middle French mask "cover to hide or preserve the face", which is derived from the Italian Maps Mask
History
The use of masks in rituals or ceremonies is a very ancient human practice throughout the world, although masks can also be used for protection, in hunting, in sports, at parties, or in wars - or simply used as ornaments. Some ceremonial or decorative masks are not designed to wear. Although the use of religious masks has been reduced, masks are used occasionally in drama therapy or psychotherapy.
Ancient mask
One of the challenges in anthropology is to find the precise derivation of human culture and early activity, with the discovery and use of the mask of only one field of unresolved investigation. The use of masks dates back several millennia. It is thought that the first mask may be commonly used by primitive people to associate users with some sort of impeccable authority, such as "god" or otherwise lend credence to one's claims to a particular social role.
The oldest mask that has been found is 9,000 years old, held by MusÃÆ'Â © e "The Bible et Terre Sainte" (Paris), and the Israel Museum (Jerusalem). Most likely the practice of masking is much older - the earliest known anthropomorphic work is about 30,000-40,000 years old - but as far as it involves the use of paint war, leather, vegetative material, or wooden masks, masks may not yet be preserved (they are only seen in paleolithic cave pictures, which dozens have been preserved). At the Roche-Cotard Neanderthal site in France, a stone-like face from the face was found to be about 35,000 years old, but it is not clear that it was meant to be a mask.
In the Book of Genesis, one can read how Adam and Eve used fig leaf to cover their "nakedness" after eating the fruit of the Tree of Knowledge of Virtue and Crime. "Mask motifs appear in the Bible on two different levels: an attempt to fool people and attempt to deceive God." What constitutes the Judaic ritual is "an absolute prohibition against the making of a sculpture or mask", originating from the Second Commandment.
In the Shiva cult, found in Anatolia from about 6,000 BC, the young and naked atypical god appeared in a horned mask. In Greek bacchanalia and the Dionysus cult, which involves the use of masks, the usual controls on the behavior are temporarily suspended, and people ramble in joyous feasts beyond their rank or their usual status. Renà ©  © GuÃÆ'  © non claims that at the Roman saturnal festival, the usual role is often reversed. Sometimes a slave or a temporary villain is given a badge and royalty status, only to be killed after the festival ends. The Venetian carnival, where everything is the same behind their masks, dates from 1268 AD. The use of carnival masks at Jewish Purim celebrations probably dates back to the late fifteenth century, though some Jewish authors claim that it has always been a part of Jewish tradition.
The North American Iroquois tribe uses a mask for healing purposes (see False Face Society). In the Himalayas, the mask serves above all as a mediator of supernatural powers. The Yup'ik mask can be a small three-inch finger mask, but also a ten-kilter mask that is suspended from the ceiling or carried by several people. Masks have been made with plastic surgery for the mutilated army.
Masks of various forms (sacred, practical, or playful) have played an important historical role in the development of an understanding of "what it means to be human," because they allow the "what kind of" imaginative experience to be transformed into a different identity (or affirming existing social or spiritual identity). Not all cultures recognize the use of masks, but most of them have masks.
Masks in performance
Around the world, masks are used for their expressive power as a feature of masked performances - both ritually and in various theatrical traditions. The ritual and theatrical definitions of mask use often overlap and blend together but still provide a useful basis for categorization. The comedic image of comedy and tragedy is widely used to represent the performing arts, and especially the drama.
In Ancient Rome, the word persona means 'mask'; it also refers to someone who has Roman citizenship. A citizen can show his line through the shadow , the mask of the ancestor's death. This is a wax cast that is stored in the larori , the family temple. The transitional rites, such as the initiation of a young family member, or a funeral, are performed in a temple under the supervision of an ancestral mask. At the funeral, professional actors will wear this mask to perform ancestral deeds, thus connecting the role of masks as ritual objects and in the theater.
Masks are a familiar element and live in many traditional and traditional shows, ceremonies, rituals, and festivals, and often come from ancient times. Masks are usually part of a costume that adorns the whole body and embodies traditions that are important to the religious and/or social life of the community as a whole or a specific group within the community. Masks are used almost universally and keep their strength and mystery both for the wearer and the listener. The popularity continues to wear masks at the carnival, and for children at parties and for festivals like Halloween is a good example. These days are usually mass-produced plastic masks, often associated with popular movies, TV programs, or cartoon characters - they are, however, a reminder of the perennial power of play and play and the power and appeal of the mask.
Ritual mask
Ritual masks occur worldwide, and although they tend to share many characteristics, very distinctive forms have evolved. Mask functions may be magical or religious; they can appear in travel rituals or as make-up for theater form. Similarly, masks can disguise a penitent or lead important ceremonies; they can help mediate spirits, or offer a protective role to people who harness their power. Biologist Jeremy Griffith has suggested that the ritual mask, as a representation of the human face, strongly reveals two fundamental aspects of the human psychological condition: first, repression of a cooperative, instinctive self or soul; and secondly, a very angry state of ego-minded egocentric thought that unfairly condemns.
Africa
There are various masks used in Africa. In West Africa, masks are used in masks that are part of a religious ceremony that is enacted to communicate with spirits and ancestors. An example is the masquerade of the Yoruba, Igbo, and Edo cultures, including Egungun Masquerades and Edo Masquerade North. Masks are usually carved with amazing skills and variations by artists who would normally receive their training as apprentices for master carver - often it is a tradition that has been passed down in the family through many generations. Such an artist holds an honorable position in tribal society because of the work he created, manifesting not only the intricate handicraft techniques but also the spiritual/social and symbolic knowledge. African masks are also used in Mas or Masquerade Caribbean Carnival.
DjolÃÆ'Â © (also known as JolÃÆ' © or YolÃÆ' © ©) is a masked dance from Temine in Sierra Leone. Men wear masks, even though it describes women.
Many African masks represent animals. Some African tribes believe that animal masks can help them communicate with spirits who live in the forest or open savanna. The people of Burkina Faso are known as Bwa and Nuna summoned spirits to stop destruction. Dogon Mali has a complex religion that also has animal masks. Their three main streams use seventy-eight different types of masks. Most of the ceremonies of the Dogon culture are secret, though antelope dance is shown to non-Dogons. An antelope mask is a rough rectangular box with several horns coming out from above. The Dogons are experts of agriculturists and antelope symbolize the hard working peasants.
Another culture that has a very rich agricultural tradition is the people of Bamana from Mali. Antelope (called Chiwara) is believed to have taught humans the secret of agriculture. Although Dogons and Bamana believe antelope symbolizes farming, they interpret different mask elements. For the people of Bamana, the sword symbolizes the grain.
Masks can also show the ideals of a feminine beauty culture. The Punu mask from Gabon has a very curved eyebrow, almost almond-shaped eyes and a narrow chin. Strips lifted from both sides of the nose to the ear represent jewelry. Dark black hair style, topped mask. Whitish face represents the whiteness and beauty of the spirit world. Only men wearing masks and performing dances with high stage even though the mask represents the woman. One of the most beautiful representations of women's beauty is the Mask of Benin Idia in the country of Nigeria's Edo today. It is believed to have been commissioned by the king of Benin to commemorate his mother. In honor of his deceased mother, the king wore a mask on his hip during a special ceremony.
The Senoufo people in Ivory Coast represented the calm by making masks with half-closed eyes and lines drawn near the mouth. Temne Sierra Leone uses a mask with small eyes and mouth to represent humility and humility. They represent wisdom by making the forehead swell. Another mask that has exaggerated the long faces and wide forehead symbolizes the sincerity of the task of someone who comes with power. War masks are also popular. The Grebo of the Ivory Coast and Liberia carve masks with round eyes to represent vigilance and anger, with a straight nose to represent a reluctance to retreat.
Today, the quality of African art is beginning to be better understood and appreciated. However, most of the African masks are now produced for the tourist trade. Although they often exhibit skill, they almost always lack the spiritual character of a traditional tribal mask.
Oceania
The diversity and beauty of the Melanesian mask is almost as developed as it is in Africa. This is a culture where dominant ancestor worship and religious ceremonies are devoted to ancestors. Inevitably, many types of masks are associated with the use in these ceremonies and are related to the activities of secret societies. The mask is regarded as a means of revelation, giving form to the sacred. This is often done by connecting the mask to the presence of the ancestors, and thus bringing the past into the present.
As a culture of scattered islands and peninsulas, Melanesian mask forms have evolved in a very diversified way, with many variations in their construction and aesthetics. In Papua New Guinea a totem mask of six meters is placed to protect sentient beings from spirits; while the mask of duk-duk and tubuan from New Guinea is used to enforce social code with intimidation. They are mask cones, made of sugar cane and leaves.
North America
The Arctic Coastal Group tends toward simple but profoundly rich and mythological practices, especially on hunting. In some areas, annual shamanic rituals involve masked dances and these highly abstract masks are arguably the most striking artifacts produced in this region.
The inuit groups vary greatly and do not have the same mythology or language. Not surprisingly their mask traditions are also often different, although their masks are often made of driftwood, animal skin, bones, and fur.
The Pacific Northwest Coastal native groups are generally highly skilled carpenters. Their masks often become pieces of engraving, sometimes with moving jaws, or masks inside the mask, and the parts move by pulling the rope. Mask carving is an important feature of wooden crafts, along with many other features that often incorporate symbolic utilitarians, such as shielding, canoeing, poles, and homes.
The forest tribes, especially in the Northeast and around the Great Lakes, cross each other's cultures. Iroquois makes a spectacular 'fake face' mask, used in healing ceremonies and carved from living trees. Masks-masks appear in various forms, depending on the exact function.
Pueblo craftsmen produce impressive works for masked religious rituals, especially Hopi and Zuni. The kachinas , gods/spirits, often take the form of a very distinctive and elaborate mask used in ritual dances. These are usually made of leather with the addition of feathers, feathers or leaves. Some cover the face, most of the head and often very abstract forms. Navajo masks seem to be inspired by the Pueblo prototype.
In more recent times, masking is a common feature of the Mardi Gras tradition, especially in New Orleans. Costumes and masks (originally inspired by undercover balls) are often worn by krewe members on Mardi Gras Day. The law of resisting conceals a person's identity with a mask suspended for the day.
Latin America
Different mask styles began to appear in pre-Hispanic America around 1200 BC, although there is evidence of a much older form of mask. In the Andes, masks are used to dress the faces of the dead. It was originally made of cloth, but then the funeral mask was sometimes made of copper or gold being beaten, and sometimes of clay.
For the Aztecs, human skulls are rewarded as trophies of war, and unusual skull masks. Masks are also used as part of the palace entertainment, perhaps combining politics with religious meaning.
In post-colonial Latin America, pre-Columbian traditions merged with Christian rituals, and syncretic masks and ceremonies, such as All Souls/Day of the Dead were developed, despite the Church's attempt to eradicate indigenous traditions. Masks remain an important feature of popular carnival and religious dances, such as The Dance of the Moors and Christianity. Mexico, in particular, retains much of its creativity in mask production, driven by collectors. The wrestling match, which is common for participants to wear masks, is very popular, and many wrestlers can be considered the heroes of the people. For example, the popular wrestler El Santo continues to wear his mask after retirement, revealing his face briefly only in old age, and is buried wearing his silver mask.
Asia
India/Sri Lanka/Indo-China
Masked characters, usually gods, are a major feature of Indian dramatic forms, many based on depicting the epics of the Mahabharata and the Ramayana. Countries with strong Indian cultural influences - Cambodia, Burma, Indonesia, Thailand and Laos - have developed Indian forms, combined with local myths, and developed their own distinctive style.
The masks are usually very exaggerated and formalized, and share the aesthetics with the images carved from the dreadful heads that dominate the facades of Hindu and Buddhist temples. These faces or Kirtimukhas , 'Visages of Glory', are meant to ward off evil and relate to the animal world as well as the divine. During the ceremony, this vision is given an active form in the big mask dramas in South and Southeast Asia.
Indonesia
In Indonesia, mask dance precedes Hindu-Buddhist influences. It is believed that the use of masks associated with the ancestral cult, which regarded the dancers as the interpreters of the gods. Indigenous tribes such as Dayak have masked Hudoq dance that represents the natural spirits. In Java and Bali, masked dance is usually called mask and shows the influence of Hinduism as it often features epics like Ramayana and Mahabharata. The original story of Panji is also popular in mask dance mask. Indonesian mask dance style is widespread, such as Balinese mask, Cirebon, Betawi, Malang, Yogyakarta, and Solo.
China
In China, masks are thought to have originated from ancient religious ceremonies. Images of people wearing masks have been found in stone paintings along the Yangtze River. The shape of the mask then unifies the myths and symbols of Shamanism and Buddhism.
Shigong Dance mask is used in shaman rituals to thank gods, while the dance's dance is protected from evil spirits. Wedding masks are used to pray for lasting luck and marriage, and the mask "Swallowing Animals" is associated with protecting the home and symbolizing the "swallow" of disaster. Opera masks are used in the form of basic opera 'Ordinary' which is done without a stage or background. This brings up the colorful facial pattern we see in Jingju (Beijing Opera) today.
Korean
The Korean mask has a long tradition associated with shamanism and then in ritual dance. Korean masks are used in war, both on their soldiers and horses; ceremonially, for funeral ceremonies in jade and bronze and shamanic ceremonies to cast out evil spirits; to remember the face of a great historical figure in the mask of death; and in art, especially in ritual, polite, and folk dance. Current use is as a miniature mask for tourist souvenirs, or on mobile phones where they hang as lucky charms.
Japanese
Japanese masks are part of a very ancient and highly sophisticated and stylish theatrical tradition. Although its roots are in myths and prehistoric cults, its roots have evolved into a refined art form. The oldest mask is my teeth . The shape is no more, and perhaps a kind of dance presentation. The
The n? or mask noh evolved from my teeth and bugaku and acted entirely by men. The mask worn throughout the show is very long and consequently very light. The n? mask is the highest achievement of Japanese mask making. N? masks represent gods, men, women, crazies and demons, and each category has many sub-divisions. Ky? genes are short jokes with their own masks, and accompany tragic n? play. Kabuki is a modern Japanese theater, which is rooted in an older form, but in this form the mask is replaced with a painted face.
Inuit culture
The inuit groups vary greatly and do not have the same mythology or language. Not surprisingly their mask traditions are also often different, although their masks are often made of driftwood, animal skin, bones, and fur.
Middle East
The theater in the Middle East, as elsewhere, was originally ritual, moving human relationships with nature, the gods, and other human beings. It grew out of sacred rituals of myth and legend by priests and lay actors at fixed times and often at fixed locations. Folk theater - pantomime, masks, puppetry, jokes, magic - has a ritual context in that it is performed at religious ceremonies or rituals such as the day of naming, circumcision, and marriage. Over time, some of these contextual ritual rituals become separated from their religious meaning and they are performed throughout the year. About 2500 years ago, kings and commoners were equally entertained by dances and pantomimes accompanied by music where dancers often wore masks, remnants from earlier eras when such dances were applied as religious rituals. According to George Goyan, this practice evoked Roman burial rituals in which masked actors representing the deceased with movements and movements imitating those who died while singing praises for his life (see Masks in Performance above)). Europe
Masks are used throughout Europe, and are often integrated into local celebrations and customs. The old masks are preserved and can be seen in museums and other collections, and much research has been done into the historical origins of the masks. It most likely represents natural spirits, and as a result many of the related habits are seasonal. The original meaning will survive only until the introduction of Christianity which then incorporates many habits into its own traditions. In the process their meanings also changed into, for example, old gods and goddesses, literally, lied to and viewed as mere demons, subjugated to the God of Abraham.
Many of the masks and characters used in European festivals include the contrasting categories of 'goodness', or 'idealized beauty', against 'ugly' or 'cruel' and terrible. This is especially true for the Germanic and Central European festivals. Another common type is Fool, sometimes considered a synthesis of two types of Charming and Ugly that contrast.
The oldest mask representation is an animal mask, like the Lascaux cave painting in the Dordogne in southern France. Such masks survive in mountainous areas of Austria and Switzerland, and may be linked to hunting or shamanism, and tend to be mainly associated with New Year and Carnival celebrations.
The debate over this meaning and other forms of mask continues in Europe, where monsters, bears, wild men, harlequins, hobbies, and other strange characters appear in carnivals throughout the continent. It is generally accepted that masks, sounds, colors and thunderous sounds are intended to ward off the forces of darkness and winter, and pave the way for the spirits of light and the coming of spring. In Sardinia there is a tradition of Mamutones e Issohadores from Mamoiada; Boes e Merdules from Ottana; Thurpos from Orotelli; S'Urtzu , Su 'Omadore and Sos Mamutzones from Samugheo.
Another European mask tradition is developed, more self-conscious, from court and civil events, or entertainment maintained by guilds and co-fraternities. It grew from earlier revels and has become evident in the 15th century in places like Rome, and Venice, where they evolved as entertainment to enliven cities and towns. So the carnival of White Thursday at St. Marks Square in Venice, attended by the Doge and the aristocracy also involves the guild, including a mask-making guild. There is evidence of Venetian masks inspired by 'commedia dell'arte' and at the end of the 16th century the Venetian Carnival began to reach its peak and finally lasted the whole 'season' from January to Lent. In the 18th century, it was already a tourist attraction, Goethe said that he was bad enough not to need a mask. The carnival was suppressed during the Republic of Napoleon, although in the 1980s the costumes and masks reached a peak in the revived 18th century. It seems that other cities in central Europe are influenced by the Venetian model.
During the Reformation many of these carnival habits began to die in Protestant areas, although they appeared to have survived in Catholic areas despite the opposition of ecclesiastical authority. Thus in the nineteenth century, the relatively rich carnival of the bourgeois city society, with its complex masques and costumes, was adjacent to the ragette customs and basically rural communities. Although their civil masks and masks may retain elements drawn from popular culture, the survival of carnival in the 19th century is often a consequence of the self-aware 'folklore' movement that accompanies the rise of nationalism in many European countries. Currently, during the carnival in the Netherlands masks are often replaced with face paint for more comfort.
At the start of the new century, on August 19, 2004, Bulgarian archaeologist Georgi Kitov discovered 673 g gold mask at the "Svetitsata" burial mound near Shipka, Central Bulgaria. This is a great workmanship made of very large 23 carat gold. Unlike other masks found in the Balkans (3 in the Republic of Macedonia and two in Greece), this mask is stored at the National Archaeological Museum in Sofia. It is considered a mask of Thracian king, probably Teres.
Mask in theater
Masks play a key part in the world theater tradition, especially non-western theater forms. They also continue to be a vital force in contemporary theater, and its use takes many forms.
In many cultural traditions, masked players are a central and highly appreciated concept. In the western tradition, actors in the Ancient Greek theater wore masks, as they do in the traditional Japanese Noh drama. In some Greek masks, the wide and open mask mouth contains a brass megaphone that allows the wearer's voice to be projected onto a large auditoria. In medieval Europe, masks were used in mystery games and miracles to describe allegorical creatures, and players representing God often wore gold or gold masks. During the Renaissance, masques and ballet de cour were developed - entertainment that closed with a mask that continued as part of the ballet convention until the late 18th century. Commedia dell'arte masked characters include modern clown ancestors. In contemporary western theater, masks are often used with dolls to create theater that is essentially visual rather than verbal, and many of the practitioners are visual artists.
Masks are an important part of many theatrical forms throughout the world's cultures, and their use in the theater often evolves from, or continues to be part of a very sophisticated, ancient theater tradition.
Contemporary Theater
Masks and dolls are often incorporated into the theater works of European avant-garde artists from the turn of the nineteenth century. Alfred Jarry, Pablo Picasso, Oskar Schlemmer, and other artists from Bauhaus School, as well as Surrealists and Dadais, experimenting with theatrical forms and masks in their work.
In the 20th century, many theater practitioners, such as Meyerhold, Edward Gordon Craig, Jacques Copeau, and others in their lineage, attempted to move away from Naturalism. They turned to sources such as the Oriental Theater (especially the Japanese Noh theater) and the commedia dell'arte, both of which display the mask strikingly.
Edward Gordon Craig (1872-1966) in Notes on Masks (1910) proposed the virtue of using a mask over the actor's naturalism. Craig was very influential, and his ideas were taken by Brecht, Cocteau, Genet, Eugene O'Neill - and later by Arden, Grotowski, and Brook and others who "tried to restore ritualistic meaning if not really religious with theater".
Copeau, in his attempt to "Naturalise" the actor decided to use the mask to free them from "awkward excess". In turn, Copeau's work with masks was taken by his disciples including Etienne Decroux and later, through Jean Daste, Jacques Lecoq. Lecoq, having worked as a movement director at Teatro Piccalo in Italy, was influenced by the Commedia tradition. Lecoq met Amleto Satori, a sculptor, and they collaborated to revive the traditional Commedia skin masking techniques. Then, developing the "noble mask" of Copeau, Lecoq will ask Satori to make him a masque neutre (neutral mask). For Lecoq, the mask becomes an important training tool, a neutral mask designed to facilitate a state of openness in the students, move gradually to characters and expressive masks, and finally to the "smallest mask in the world" a red-nose clown. One very important feature of using Lecoq mask, not so much the visual effects on the stage, but how it changes the movements of players on stage. It is a body-based approach to cover work, rather than visually led. Lecoq's pedagogy is very influential for European theater practitioners who work with masks and have been exported extensively throughout the world. This work with masks also deals with performances with portable dolls and dolls. Students from Lecoq continue to use masks in their work after leaving school, such as at John Wright's Trestle Theater .
In America, slower masks arrive, but the Guerrilla Theater movement, which is characterized by groups like San Francisco Mime Troupe and Bread and Puppet Theater takes advantage of it. Influenced by modern dance, modern mime, Commedia dell'arte and Brecht, such groups take to the streets to perform very political theaters. Peter Schumann, founder of Rotin and Wayang theater, uses a German carnival mask. Bread and Wayang inspire other practitioners around the world, many of them using masks in their work. In the US and Canada, these companies include In The Heart of Animal Dolls and Minneapolis Mask Theaters; Arm-of-the Sea Theater from New York State; Snake Theater from California; and Shadowland Theater in Toronto, Ontario. These companies, and others, have a strong social agenda, and combine masks, music and puppets to create a visual theatrical form. Another route mask taken to the American Theater is through dancers/choreographers such as Mary Wigman, who has used masks in dance and has emigrated to America to escape from the Nazi regime.
In Europe, Schumann's influence fused with early avant-garde artists to encourage groups such as Moving Picture Mime Show and Welfare State (both in the UK). These companies have great influence on the next generation of groups working in visual theater, including IOU and Horse and Bamboo Theater, which create theater in which masks are used in conjunction with dolls, films and other visual forms, with an emphasis on structural narrative.
Functional Mask
Masks are also known as parts of kits associated with practical functions, usually protective. There has been such a proliferation of masks recently but there is a long history of protective armor and even medical masks to ward off the plague. The contrast with the performance mask is not always clear. Ritual masks and theaters themselves can be considered practical, and protective masks in sports contexts are often designed to improve the appearance of the wearer.
Medical
Some masks are used for medical purposes:
- Oxygen mask, breathing medical device
- Anesthesia mask
- Burn a mask, medical device that protects the burn tissue from contact with other surfaces, and minimizes the risk of infection
- Surgical masks, medical devices that help protect surgeons and patients from infection with each other
- Facial protection, to protect medical professionals from body fluids
- Pocket mask or CPR mask , is used to safely rescate breath in the event of a cardiac arrest or stop breathing
Protector
The protective mask is a piece of kit or gear worn on the head and face to give protection to the wearer, and today usually has these functions:
- Provide air supply or filter out the outside air.
- Protect faces against flying objects or hazardous environments, while enabling vision.
In the masks of Roman tournament gladiators are sometimes used. From archaeological evidence it is clear that this not only protects but also helps make the wearer seem more intimidating. In medieval Europe and in Japan, soldiers and samurai wore protective clothing that looked like malignant, extending into a face mask. In the 16th century, Visard was worn by women to protect from sunburn. Today this function is associated with thin balaclavas.
In sports mask protectors often have a secondary function to make the wearer appear more impressive as a competitor.
Before a strong transparent material such as polycarbonate is found, the shield to protect the face should be blurred with small vision holes, and a kind of mask, as is often the case in medieval armor, and (for example) Old Norse grÃÆ'mr means " mask or visor ".
Disguise
Masks are sometimes used to avoid recognition. As mask masking acts as a form of protection for the wearer who wants to take a role or task without being identified by others.
- Robbers and other criminals often wear masks as a means of hiding their faces and thus the identity of their victims and from law enforcement.
- Sometimes a witness to the prosecution appears in court with a mask to avoid being recognized by a defendant's colleague.
- Participants in the black block in protest usually wear masks, often bandanas, to avoid recognition, and try to protect against the riot control agents used.
Masks are also used to prevent recognition when showing group membership:
- Masks are used by penitents in ceremonies to disguise their identities to make more selfless acts of regret. The Semana Santa march across Spain and in Hispanic or Catholic countries around the world is an example of this, with their cone-shaped mask known as capirote.
- Masks are used by vigilante groups
- The cone-shaped mask is specifically identified with the Ku Klux Klan in a conscious effort to combine personal identity hiding with the promotion of strong and intimidating images.
- Members of the Anonymous group often wear masks (usually Guy Fawkes masks, best known from the V for Vendetta) as they attend protests.
While niq? B usually shows membership of some Islamic communities, the goal is not to block recognition, although it is included in some anti-mask laws such as the French ban to cover the face.
Jobs
- Half-filled herbal mask worn in the Middle Ages by a plague physician to try to ward off the Black Death.
- Filter mask, security equipment
- Full face dive masks as part of self-contained breathing apparatus for divers and others; some let the wearer talk to others through an integrated communication tool
- Gas masks, face masks worn to protect the body from air pollution and toxic substances
- Oxygen masks worn by high altitude pilots, or used in drugs to deliver oxygen, anesthesia, or other gases to patients
- Weld mask to protect the face of welders and eyes from brightness and sparks made during welding
Sports
- Helmet faces the American soccer mask
- Balaclava, also known as "ski mask", to protect the face from the cold air
- Baseball caps mask
- Diving masks, dive equipment items that enable scuba divers, free divers, and snorkelers to see clearly underwater
- Fancy mask
- Goaltender mask, mask worn by ice or hockey field goaltender to protect head and face from injury
- Helm Hurling was made mandatory in 2010, and has a wire mask on the front to protect the player's face.
- Kendo, a mask called Men is used in the martial arts of this Japanese sculptor
- Paintball mask
- Visor (ice hockey)
An interesting example of a sports mask that confuses a protective function is a wrestling mask, the mask most widely used in Mexican/Latin lucha libre style. In modern lucha libre, masks are designed colorfully to evoke images of animals, gods, ancient heroes, and other archetypes. The mask is considered "sacred" to some extent, placing its role closer to ritual and performance functions.
Punitive
Masks are sometimes used to punish users either by signifying their humiliation or causing immediate suffering:
- An "embarrassing" mask ( Schandmaske in German) is designed for public humiliation; the popular reduced form is the donkey's ear for students or naughty students
- A very uncomfortable type, such as an iron mask, such as a Scold rope, is suitable as a device for torture or corporal punishment
- Masks are used to alienate and silence prisoners in Australian prisons at the end of the 19th century. They are made of white cloth and cover the face, leaving only visible eyes.
- The use of masks is also common in BDSM practice.
Mode
Decorative masks can be worn as part of a costume outside the ritual or ceremonial function. These are often described as masks, and are closely related to the carnival style. For example, a costume clerk occasionally wears a mask as part of their costume.
- Wrestling masks are used most extensively in Mexican and Japanese wrestling. The wrestler's mask is usually associated with the wrestler's personality (for example, a wrestler known as 'Panda' may wear a mask with a panda face). Often, wrestlers will put their masks on the line against other wrestler masks, title or opponent's hair. While in Mexico and Japan, masks are a sign of tradition, they are seen as low in the United States and Canada.
- Some bands and players, especially members of the Slipknot group, Mental Creepers and Gwar, and Buckethead guitarist, wear masks when they perform on stage. Several other groups, including Kiss, Alice Cooper, and Dimmu Borgir simulate the effect with facepaint. Hollywood Undead also wears a mask but often removes it in mid-show.
- The methods and themes that work with leather, steampunk, and others are sometimes used to make artisanal gas masks.
Horror movie
Source of the article : Wikipedia
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