The coming forth of the masks and puppets is a ritual festivity that is characterized by dances and songs performed by masked members of the Bambara, Bozo, Marka, and Somono communities in Markala, the Republic of Mali.
A sacred wood next to the Niger River is used for the initiation ceremony, where elders impart knowledge and skills associated with these rituals to the young boys. In general, the masquerade takes place over three consecutive afternoons and two nights. Organizers are in the hands of the ton.
Membership is mandatory for men from 14 to 40 years old, and women from 14 through marriage at age 20. There are four age groups, as recognized by the colors of their clothing. Dances play an important role during masquerade.
Masks, puppets, and people dance in different ways, but each is used to express a different feeling. The puppets and masks (by hidden dancers) express the personalities of the puppets and masks, while the people (visible dancers) are used to express their feelings of togetherness and joy.
During the dry season, young neophytes learn to prepare themselves for life as adults by receiving knowledge and instruction through masks and puppets which symbolize the sacred link between man and nature.
Along with the initiation, libations and offerings are made to occult spirits to obtain permission to become trained men who can wear masks and dance. Through prayer, music, chants, and dance, post-harvest celebrations provide a platform for diverse expressions of local cultures, heralding an individual and collective period of fishing.
These rituals demonstrate the cohesion, dialogue, tolerance, and continuity of various cultural identities within the Markala community and surrounding villages. They enable festive encounters and exchanges for the resolution of intra- and intercommunity conflicts, family quarrels, and misunderstandings.
Historically, puppets and masks have been connected to humans as two sides of the same coin. Manipulated by man, they are situated in a magical realm that connects the supernatural and the visible world of humans. The people of Markala celebrate the origins of their culture and their relationship to the animals of the land and the water within the structure of a masquerade.
Through the performing arts and dances, as members of age groups and of a village, the cultural identity is reflected. Dances, songs, and drum rhythms are valued aspects of their cultural heritage and are performed annually and adapted whenever needed. It is an opportunity for people in Markala to come together with family and friends, to show off their best clothes, and to dance elegantly to express their joy.
The coming forth of the masks and puppets also known as Fesmamas, is a ritual festivity that is characterized by dances and songs performed by masked members of the Bambara, Bozo, Marka, and Somono communities in Markala.
A sacred wood next to the Niger River is used for the initiation ceremony, where elders impart knowledge and skills associated with these rituals to the young boys. In general, the masquerade takes place over three consecutive afternoons and two nights. Organizers are in the hands of the ton. Membership is mandatory for men from 14 to 40 years old, and women from 14 through marriage at age 20. There are four age groups, as recognized by the colors of their clothing. Dances play an important role during the masquerade. Masks, puppets, and people dance in different ways, but each is used to express a different feeling. The puppets and masks (by hidden dancers) express the personalities of the puppets and masks, while the people (visible dancers) are used to express their feelings of togetherness and joy. During the dry season, young neophytes learn to prepare themselves for life as adults by receiving knowledge and instruction through masks and puppets which symbolize the sacred link between man and nature.
Along with the initiation, libations and offerings are made to occult spirits to obtain permission to become trained men who can wear masks and dance. Through prayer, music, chants, and dance, post-harvest celebrations provide a platform for diverse expressions of local cultures, heralding an individual and collective period of fishing.
These rituals demonstrate the cohesion, dialogue, tolerance, and continuity of various cultural identities within the Markala community and surrounding villages. They enable festive encounters and exchanges for the resolution of intra- and intercommunity conflicts, family quarrels, and misunderstandings. Historically, puppets and masks have been connected to humans as two sides of the same coin. Manipulated by man, they are situated in a magical realm that connects the supernatural and the visible world of humans. The people of Markala celebrate the origins of their culture and their relationship to the animals of the land and the water within the structure of a masquerade. Through the performing arts and dances, as members of age groups and of a village, the cultural identity is reflected. Dances, songs, and drum rhythms are valued aspects of their cultural heritage and are performed annually and adapted whenever needed. It is an opportunity for people in Markala to come together with family and friends, to show off their best clothes, and to dance elegantly to express their joy.
References
(https://ich.unesco.org/en/RL/coming-forth-of-the-masks-and-puppets-in-markala-01004) (http://www.elisabethdenotter.nl/site2/mali/mali.html#:~:text=During%20the%20masquerades%20of%20the,which%20'dance'%20as%20well.) |Subject=dance, Music, Ritual |Country=Mali |SDG=(11) Sustainable Cities and Communities }}