The helmet-shaped mapiko masks of Mozambique have garnered admiration from African art scholars and collectors alike, due to their striking aesthetics and their grotesque allure. This book restores to mapiko its historic and artistic context, charting in detail the transformations of this masquerading tradition throughout the twentieth century.
Based on field research spanning seven years, this study shows how mapiko has undergone continuous reinvention by visionary individuals, has diversified into genres with broad generational appeal, and has enacted historical events and political engagements. This dense history of creativity and change has been sustained by a culture of competition deeply ingrained within the logic of ritual itself. The desire to outshine rivals on the dance ground drives performers to search for the new, the astonishing, and the topical. It is this spirit of rivalry and one-upmanship that keeps mapiko attuned to the times that it traverses.
In Step with the Times is illustrated with vibrant photographs of mapiko masks and performances. It marks the most radical attempt to date to historicize an African performative tradition.
An ambitious reassessment of the political uses of masking.
Does the mask reveal more than it conceals? What, this book asks, becomes visible and invisible in the masking practiced in Caribbean cultures-not only in the familiar milieu of the carnival but in political language, social conduct, and cultural expressions that mimic, misrepresent, and mislead? Focusing on masking as a socially significant practice in Caribbean cultures, Gerard Aching’s analysis articulates masking, mimicry, and misrecognition as a means of describing and interrogating strategies of visibility and invisibility in Cuba, Trinidad and Tobago, Martinique, and beyond.
Masking and Power uses ethnographic fieldwork, psychoanalysis, and close literary readings to examine encounters between cultural insiders as these locals mask themselves and one another either to counter the social invisibility imposed on them or to maintain their socioeconomic privileges. Aching exposes the ways in which strategies of masking and mimicry, once employed to negotiate subjectivities within colonial regimes, have been appropriated for state purposes and have become, with the arrival of self-government in the islands, the means by which certain privileged locals make a show of national and cultural unity even as they engage in the privatization of popular culture and its public performances.READERS
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