Kalabari Masquerade and the gaze: identity and spectatorship in the sculptures of Sokari Douglass Camp

Kalabari masquerade performances are centered around a core male performer, who disguises himself by wearing an intricate costume. The costume propels the dancer into the mystical spiritual realm, where through the effectiveness of his performance he is believed to temporarily be possessed by a higher spirit. The single performer, however, cannot attain this state without the help of audience members. These audience members are composed of mostly female witnesses, who critically examine the dancer and determine his worth in the performance. Multidimensional relationships sustain the masquerade tradition and the role of women is vital to its survival. They are the ultimate beholders of power with their scrutinous gaze. Identity and spectatorship lie at the core of the masquerade, and the two aspects are examined thoroughly throughout this research. By examining one particular artist, Sokari Douglas Camp, the importance of identity and its transformation in the masquerade performance can be more fully expressed

Name thesis:degree_name

MA (Master of Arts)

Level thesis:degree_level

Masters

Discipline thesis:degree_discipline

Art and Art History (UMKC)

Grantor

University of Missouri--Kansas City

Year dc:date.issued

2014

Author dc:creator

• Griffith, Logan Alexandra

Advisor dc:contributor.advisor

• Wahlman, Maude

Statement dc:rights

• Open Access (fully available)

Language dc:language.iso

eng, English

Handle dc:identifier.uri

https://hdl.handle.net/10355/43911

OAI identifier oai:identifier

oai:mospace.umsystem.edu:10355/43911