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Upon examination, the mask revealed marks that proved the origin of the mask, along with evidence that the mask was used in Native American ceremonies. The mask, presented as an eagle or thunderbird, was meant to portray an animal to human transformation. [5] Burke Museum in Seattle, Washington displayed the original transformation mask as part ...
Iroquois oral history tells the beginning of the False Face tradition. According to the accounts, the Creator Shöñgwaia'dihsum ('our creator' in Onondaga), blessed with healing powers in response to his love of living things, encountered a stranger, referred to in Onondaga as Ethiso:da' ('our grandfather') or Hado'ih (IPA:), and challenged him in a competition to see who could move a mountain.
David Guss suggests that when Black Americans "mask" as Indigenous peoples they are not trying to be Native American; they are telling a visual story of how enslaved Africans escaped slavery in Louisiana and found refuge in nearby Native American villages. He says Black people are not ridiculing or parodying Native Americans.
Transformation masks were worn ceremonially, used by dancers and represented or illustrated the connection between various spirits. The masks usually depicted an animal transforming into another animal or a spiritual or mythical being. Masks were representations of the souls of the mask owner's family waiting in the afterlife to be reborn.
The heyoka (heyókȟa, also spelled "haokah," "heyokha") is a type of sacred clown shaman in the culture of the Sioux (Lakota and Dakota people) of the Great Plains of North America.
The sacred clowns of the Pueblo people, however, do not employ masks but rely on body paint and head dresses. Among the best known orders of the sacred Pueblo clown is the Chiffoneti (called Payakyamu in Hopi , Kossa in the Tewa language, Koshare among the Keres people , Tabösh at Jemez, New Mexico , and Newekwe by the Zuñi ).
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