Маска

[fidel]

Мой (относительно буквальный) перевод с испанского:
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Мы просыпаемся утром и первое что нужно сделать это выбрать маску, которую надеть.
Можно выбрать маску доброго слуги, а можно выбрать очень порочную.

Реальность каждый день показывает нам какую маску надеть
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если у кого то есть другой перевод было бы класно услышать

[Nancy]

наше творчество 

[fidel]

без маски кто меня узнает ?
проснувшись  утром надеваю
то чем сегодня буду я
пусть моего лица никто не знает

[Фрау Конь]

без маски кто меня узнает ?
проснувшись  утром надеваю
то чем сегодня буду я
пусть моего лица никто не знает

особенно незнаю я

[fidel]

[fidel]

[Aimo]

выставка масок яки, собранных кк в 60-х годах при его "полевой работе"

With long beards cascading from their chins and hair sometimes falling over their eyes, the painted and etched wood masks by the Yaqui of northern Mexico are haunting, humorous, playful and arresting. "Fowler in Focus: The Yaqui Masks of Carlos Castaneda" showcases the collection of Yaqui pahko'ola masks and rattles field-collected in the 1960s by famed author and UCLA-trained anthropologist Carlos Castaneda.

The exhibition includes video and photographs that show the masks in context and in performances during pahko'ola rituals.

Pahko'ola masks offer a glimpse into some of the most ancient and respected aspects of their makers' worldview. They are most often carved to resemble human faces or goat heads, and the name, pahko'ola, may be translated as "old man of the fiesta," suggesting the wisdom and comprehensive knowledge associated with age. The masks usually employ red and white design elements on black backgrounds, and they are a part of birthdays, weddings, death ceremonies, religious holidays and other celebrations.

In the past, the pahko'ola dances communicated with the animals to ensure safe and successful deer hunts.  Although such hunts are no longer essential to Yaqui survival, pahko'ola performers today entertain crowds as clowns and narrators. They joke with and tease spectators and ritual participants, but they also bless the ritual ground, making it safe from negativity and any potential for harm.

Carlos Castaneda (1925–1998) received his bachelor's and doctoral degrees from UCLA; his Ph.D. was earned primarily for his work with a Yaqui Indian named Don Juan Matus. In his best-seller "The Teachings of Don Juan: A Yaqui Way of Knowledge" (1968) and subsequent books, Castaneda described his apprenticeship with Don Juan. After several well-publicized exposés questioned the validity of Castaneda's claims, many scholars doubted that Castaneda had done research among the Yaqui communities in Mexico, and Time magazine described him as "an enigma wrapped in a mystery."

His contribution of the Yaqui masks on display in this exhibition is therefore exceptionally valuable, as the acquisition documents prove that Castaneda was in the Yaqui pueblos during the time of his dissertation field work. Additionally, the quality of the masks and the artistry of the mask-makers are undeniable.

в те годы такие маски можно было купить туристу в любой мексиканской деревне

(Zarco Guerrero) The Yaqui masks were the first the first ceremonial masks I saw used as a young boy and have become a major influence on my own mask-making style. Please turn and look at the Yaqui, Mayo and Tarahumara Indian masks from Sonora on the wall directly behind you.

Felipe Molina, a member of the Yaqui (Yoeme) tribe of Tucson, Arizona, tells us about the use of masks by native people in the southwestern United States and in northern Mexico.

(Felipe Molina) Somewhere in the Yoeme community, there's always a ceremony going on. And the masks are used in those ceremonies. It is a household or a community, ceremony, the masks are involved, especially the ones that you have on display. Those are the Pahkola masks.

And other kind of masks are used, but are only for during Lent. Those are the ones that they use for the different ceremonies around Lent. But, those never are displayed because those are very—to us, they have deep meaning and they cannot be displayed anywhere. And they're usually burned on holy Saturday. They burn those masks. It's like many of the tribal groups that you see down in Mexico, they have their ceremonies and then after the holy week ceremonies, they usually burn them or destroy them.

(Zarco Guerrero) Music that accompanies Yoeme dances typically includes violin, other stringed instruments and bells on the dancers' feet.

(Yoeme music)

(Zarco Guerrero) Martin Kim, Program Coordinator and Director of the ASM store:

(Martin Kim) The Yaqui cultures in northern Sonora and the Mayo cultures in the Mayo river region are adjacent to one another. They share the same language basin. So, of course, they share very much the same ceremonies, too. But, there are some variations, as you can see in these two.

The length—the longer length of the horse hair or goat hair, conventional to both, on the Mayo mask somewhat distinguishes them from the shorter-haired versions of the Yaqui.

But, here in the villages like old Pasqua, here in Tucson, itself, there are other differences that I've come to appreciate. The green color that you see on this mask from the northern Sonora area, I understand, is a very, very bad color to paint a mask, if you're from any of the Tucson villages.

So, you'll see variations practiced down there that you won't see practiced up here. One of the most distinct variations is the fact that I have this mask at all. I could never buy a Yaqui mask from a village in Tucson itself. The act of making a mask is considered sacred. And, as a sacred object, you know, we take our guidelines from the cultures we represent. And so, I would never even attempt to buy a mask from a Yaqui carver here.

But, down in northern Sonora, mask makers who are generations of mask makers, those families will make a mask for sale. Because, there, until a mask is danced, it's not considered sacred.

http://www.statemuseum.arizona.edu/podcasts/ep011_mmat_nw_mexico.shtml

With extreme care, I took out the bundle. Jorge Campos snatched it out of my hands, and opened it. It contained three beautifully made traditional Yaqui masks. Jorge Campos mentioned, in a casual, disinterested tone, that it would be only proper that I give him one of them. I reasoned that since he had not yet taken me to see the old man, I had to preserve my connection with him. I gladly gave him one of the masks. "If you allow me to choose, I would rather take that one," he said, pointing. I told him to go ahead. The masks did not mean anything to me. I had gotten what I was after. I would have given him the other two masks as well, but I wanted to show them to my anthropologist friends. "These masks are nothing extraordinary," Jorge Campos declared. "You can buy them in any store in town. They sell them to tourists there." I had seen the Yaqui masks that were sold in the stores in town. They were very rude masks in comparison to the ones I had, and Jorge Campos had indeed picked out the best.

Active Side of Infinity


Yaqui Indian man wearing a hide helmet style mask worn by Judios or Fariseos (Pahrisees) as part of a Holy Week ceremony. The mask is made of brown goat skin with several de-haired areas decorated with red, blue and green ink. He also wears cocoon rattles on his lower legs and holds a decorated wooden spear and a sword. 1924 г. Сонора

[Aimo]

[fidel]