Most traditional African cultures include beliefs about the spirit world, which is widely represented through both traditional and modern art such as masks, statues, and sculptures. These masquerade performances are often accompanied by the swirling of fabrics and colors, augmented by intricate body movements and carefully orchestrated dance steps. Many types of masks are used by the Northern Edo. Wooden masks are often used to depict deities or ancestors; in many traditions, they are believed to channel spirits when worn by ceremonial dancers. Instead, a spirit occupies the mask and whatever the wearer does or says is attributed to the spirit of the mask. Therefore, abstraction and distortion are often seen. Moreover, when an individual wears and African mask, they no longer possess their own personality. At best, Egungun is both a fanciful parade and a concrete manifestation of the acrobatic displays of spirit in motion. The masquerades in the African perspective have different roles that support a healthier society through linking the dead and the living. African tribal masks do not represent real people, dead or alive, or even animals, when they take on the form of animals. It is the spirit behind backwardness, near success syndrome, unable to fulfil purpose etc. In Igbo culture, the masquerade (Mmanwu) embodies the spirit and human worlds. Among the Esan people of Southern Nigeria, the Elimin (spirit masquerade) was difficult to comprehend since it was considered secretive and even prohibited from discussion among the women. The masquerades are classified into categories based on specialization. The color white represents the spirit world for many African tribes, like the Fang in Gabon, who ironically treated the first Europeans with respect, for they believed them to be ancestral spirits. The Chewa people of rural Malawi hold ceremonies with individuals wearing spirit masks when a new village headman takes office. This demon can use the image of someone that you know in the real life to project themselves as masquerade. In West Afrika, the Yorùbá people’s ‘Egúngún’ masquerades honour the dead and mark the return of ancestors to the land of the living. Masquerades are multimedia events that often include not one but several masked dancers embodying various spirits. The spirit of masquerade has brought many people into bondage. The mystique surrounding the masquerade is one of the key components of the Igbo culture that survived Western influences.It is generally believed in the Igboland that the masquerade is a spirit which springs from the soil. The African style of masquerade is an outdoor event, performed by men, and sometimes limited to the attendance of men. amon g the living, ... Masquerade/spirit), would go r ound the community at night w arning the . The intention behind an African mask is not to depict something realistic or naturalistic, as the African ideal aspires to capture the essence of the spirit represented. If the spirit chooses to be embodied in a mask, it may specify a human form with male or female, or beautiful or unattractive, features that will be consistent with its actions. Several BERBER groups in Morocco, for example, hold masquerades in connection with Muslim festivals. Although traditionally made with tree bark, dried grass and other natural materials, these days you’re often as likely to see one made out of old rice sacking, paper and old clothes. The spirit also indicates how it wants to be embodied. The Ekpe masquerade has its roots in the Nigerian Cross River State and is used in ceremonies accompanied by cultural drama. People in many societies believe that spirits become visible and perform through masquerades. 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