Abstract
The Bamana living in the Segu region in central Mali carve a range of masks and puppets for specific performance contexts. These sculptures are related to and must be interpreted in light of the community's definition of the event for which they were created. This study examines a category of sculptures which are produced for youth puppet theatre. It compares these sculptures to a second category of masks which are produced for men's initiation associations and relates both categories to the definition of their respective performance events. It then analyzes the social identity of the actors in youth theatre and the ideology which organizes the import of the puppet theatre in these communities.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
