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David Binkley - Playful Performers: African Childrens Masquerades

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Playful Performers: African Childrens Masquerades: summary, description and annotation

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African children develop aesthetic sensibilities at an early age, roughly from four to fourteen years. By the time they become full-fledged adolescents they may have had up to ten years experience with various art forms--masking, music, costuming, dancing, and performance. Aesthetic learning is vital to their maturation. The contributors to this volume argue that the idea that learning the aesthetics of a culture only occurs after maturity is false, as is the idea that children wearing masks is only play, and is not to be taken seriously.
Playful Performers is a study of childrens masquerades in Africa. The contributors describe specific cases of young childrens masking in the areas of west, central, and southern Africa, which also happen to be the major areas of adult masquerading. The volume reveals the considerable creativity and ingenuity that children exhibit in preparing costumes, masks and musical instruments, and in playing music, dancing, singing, and acting. The book includes over 50 pages of black and white photographs, which illustrate and elaborate upon the authors main points.
The editors describe general categories of childrens masquerades. In each of the three masking categories childrens relationships to their parents and other adults differ, from a close relationship to some independence to almost complete independence.
No other major work has covered this aspect of African children at this age level. The book offers a challenging perspective on young children, seeing them as active agents in their own culture rather than passive recipients of culture as taught by parents and other elders. It will be interesting reading for anthropologists, art historians, educators, and African studies specialists alike.
Simon Ottenberg is emeritus professor, Department of Anthropology, University of Washington. David A. Binkley is Senior Curator for Research and Interpretation, National Museum of African Art, Smithsonian Institution, Washington, DC.

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PLAYFUL PERFORMERS AFRICAN CHILDRENS MASQUERADES Playful Performers Simon - photo 1
PLAYFUL PERFORMERS
AFRICAN CHILDREN'S MASQUERADES
Playful Performers
Simon Ottenberg
David A. Binkley
EDITORS
First published 2006 by Transaction Publishers Published 2017 by Routledge 2 - photo 2
First published 2006 by Transaction Publishers
Published 2017 by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
711 Third Avenue, New York, NY 10017, USA
Routledge is an imprint of the Taylor & Francis Group, an informa business
Copyright 2006 by Taylor & Francis.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
Notice:
Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
Library of Congress Catalog Number: 2005043972
Library of Congress Cataloging-in-Publication Data
Playful performers : African children's masquerades / Simon Ottenberg and David A. Binkley, editors.
p. cm.
Includes bibliographical references and index.
ISBN 0-7658-0286-4 (cloth: alk. paper)
1. MasksSocial aspectsAfrica. 2. MasqueradesAfrica. 3. ChildrenAfricaSocial life and customs. 4. Rites and ceremoniesAfrica. 5. FolklorePerformanceAfrica. 6. Folklore and childrenAfrica. 7. AfricaSocial life and customs. I. Ottenberg, Simon. II. Binkley, David Aaron. III. Title.
GT1748.A35P53 2005
391.4'34dc22
2005043972
ISBN 13: 978-0-7658-0286-6 (hbk)
Contents
Simon Ottenberg and David A. Binkley
Mary Jo Arnoldi
Walter E. A. van Beek
John R. O. Ojo
David A. Binkley
Simon Ottenberg
Robert W. Nicholls
Anna A. Hlavcov
Chika O. Okeke
Jeanne Cannizzo
Based on the writings of Manuel Rambout Barelos, Nicolau Fara Gomes, Felix Siga , and Harriet C. McGuire; edited with additional comments by Simon Ottenberg
Priscilla Baird Hinckley
Kenji Yoshida
Elisabeth L. Cameron and Manuel A. Jordn
Guide
The editors wish to thank the authors of the essays in this volume for their contributions, and for their patience, over a number of years, in awaiting its completion. Their interest and ideas have greatly assisted us in the quest for a broad and diversified view of African childrens masquerades. We are all pioneers in the study of this subject.
We also wish to thank the many individuals cited in the footnotes of this introduction by name, who have provided us with numerous helpful suggestions and ideas, substantive data, and video tapes. Their scholarly comradeship has very greatly improved the quality of this book.
Simon Ottenberg, who originated this project, has been responsible for gathering the materials on West Africa, and David A. Binkley for those from Central and Southern Africa.
Simon Ottenberg and David A. Binkley
There is an extensive and sophisticated scholarly literature on adult masquerading in Africa, as well as on childrens masquerading during adolescent initiation. However, there has been little understanding of masquerading by young children before initiation, generally between the ages of four and twelve. Publications on initiation masquerades and on adult masking occasionally mention childrens pre-initiation masquerading, though often in an anecdotal manner, without serious analysis. Yet childrens pre-initiation masquerades in Africa are widespread and more varied than has been realized, ranging from brief performances to those sophisticated in style. Detailed analyses of childrens pre-initiation masqueradeshow they are learned, experienced, performed, and passed on to other childrencontribute to our knowledge of African childhood play. They also add to our understanding of the roots of the skill that adult masqueraders display in their performances.
African childrens masquerades are often simpler than adult ones, in the quality of the masks and dress, the dance and music, and the length of their performances. Except for a few significant instances, they lack serious religious qualities. But their apparent simplicity belies their significance for the children involved, and for studies of all African masquerade forms.
The contributors to this volume consider childrens masquerade performances in a broad manner. This includes not only taking into account the children who wear masks, but those who accompany them in song, in dance, in playing music, and as observers. Background cultural features are also important. We look at performance as a whole, as the masqueraders often do themselves.
History and Change in Children's Masquerades
We know little of the origins of childrens pre-initiation masquerades in Africa. The editors might speculate that in earlier centuries children were so under the control of tradition, and of parents and other adults, that they rarely masked. The existence of childrens masquerades in modern urban centers, and in a number of indigenous cultures, where these did not exist in the past, hints at its recency. On the other hand, there are cases where these masquerades appear to be deeply entwined in their cultures, suggesting that they have had a long life. There are also several African myths, discussed in this volume, of masking having originated with children. It is likely that childrens masquerades existed in selected areas of Africa in pre-colonial times. The actual histories of childrens pre-initiation masking that we possess, presented in several chapters in this volume, are of urban masquerade, which do not extend back in time more than several hundred years. We know little of the history of rural childrens masking.
The cases of childrens pre-initiation masquerades discussed in this introduction and in the individual essays range in time from the 1940s into the 1990s. It is a work not only on the most recent developments. The essays indicate that there has been a considerable variety of childrens pre-initiation masquerading in Africa, the forms that they take, and how these are changing. They are found in traditional and modern settings, in rural and urban sites. They mainly occur in West Africa, though there are instances from the continents central and southern regions. Most of the chapters contain previously unpublished data and analyses; only a few are of reprinted material. They are written in the context of years of major cultural, political, and economic change in Africa; the end of colonialism and the postcolonial period. This has been a time when massive social upheavals have altered the nature of the African continent and of childrens lives and their masquerades.
These features have created difficulties for the authors in this volume in categorizing childrens pre-initiation masquerades. In recent years, children have been initiated into adult masquerade societies at earlier ages than previously, which has resulted in the disappearance or weakening of childrens pre-initiation masquerades. In some African cultures adolescent initiation has become briefer and of less significance than in the past, or it has disappeared, so that significant links between pre-initiation masking and adolescent initiation experience are less meaningful, or are lost. In African countries, such as Sierra Leone, Liberia, and the Democratic Republic of the Congo, civil wars over many years have eliminated almost all masquerading by children, as well as adults. In other regions of the continent, childrens pre-initiation masquerades have declined as the lessening of secrecy in adult secret societies has come about. Adults, previously afraid to initiate young children for fear that they would expose adults secrets, are no longer so concerned.
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