Mask
Perceptions of self vs. perception of self by others: Mistaken Identity?
This section opens with the image of the American Indian as portrayed in Western art and in other sources. Multiplicity in images will fuel the discussion on multiple aspects of representations and perspectives. I will use at least four examples taken from a variety of sources: early American photographic examples in the daguerreotype format, where the subject is considered a curiosity, examples of paintings from the "Wild, Wild West" genre, in the style of the artist George Catlin, product and or sports team logos which feature stylized Indian references and an example taken from the 1970's anti-littering campaign, Chief Iron Eyes Cody, the famous crying Indian. Teachers' note: If your school happens to be close to a Fine arts museum, or a Natural History Museum, a search of their collections may reveal images that would be appropriate and provide an excellent opportunity for a field trip. As in the case of one colleague, access to a Natural History museum included materials and artifacts available for classroom loan. Materials and Exhibits are usually paired with educational content, engineered to be relevant to school curriculums, and to match state standards, making a journey to the Museum an activity easily approved in an environment where academic time on task is a mandated priority. The time needn't be contained in the school building, alone. Art or objects viewed in a formal setting can be approachable to students when paired with a teacher-generated guide. Content of a guide should include inquiry about the artwork; beginning with simple colors and shapes presented and move to more specific content related to perceived meanings or functions. An examination of the artists' perspective and possible motivation for creating the artwork falls after the initial discussion. If a field trip were not feasible, it would be helpful to have the examples on display in the classroom in the largest format available, for impact and if possible, grouped together, for investigation. Discussion of examples can include the romanticized treatment of the subjects. The romantic qualities of a painting will be found when exploring the way the lighting of the painting is completed and with examination of the details included. What has the artist included in the example and what is not present? Are there inferences of meaning or can meaning be found in the sum of the elements of the painting? Consider the overall composition or layout of the image, symbols or props that may be present and the overall mood of the artwork as elements for discussion. Students can compare examples and contrast examples. What was the motivation for such idealized versions of the American Indian? Have you ever been in a similar situation? This is a wonderful way to use discussion and artistic analysis to segue to another discussion, which includes student thoughts on how the way you are perceived by others can often be different from what was intended by the individual. This premise of mistaken identity can be the basis for the composition of student made masks. A discussion on generalities and stereotyping would be natural extensions to our dialogue.
For the studio portion of this section, designs for masks will be first completed in rough sketches, which can be reviewed by teacher and collectively brainstormed for materials that translate into increased meaning for the final, multimedia project. Images of American Indian facial tattooing, ceremonial face painting and traditional masks shown in support of the lesson will assist students in gathering ideas. See Teacher resources for ideas on sources. The base form for the mask will start with castings of the students' faces, using plaster coated gauze strips. Plaster gauze is readily available in most craft shops and can be cut to workable sizes. Other materials can be substituted for the plaster. Paper, cardboard and even clay could be used. When using plaster it is important to take care that it does not get washed down a drain, as it may block the drain. Vaseline makes a good barrier for the plaster on the face so that the mask doesn't stick to the facial hair, (eyebrows, sideburns, hair line, etc.). Small strips, about a ¼ of an inch work well around the nostrils, while varying lengths will work when covering the nose and other portions of the face. Carefully position strips horizontally along the bridge of the nose first and follow with a couple of strips vertically along the septum down towards the lips. Breathing is easy this way, and the rest of the shape of the nostrils can be built up after the mask has been removed, by applying more small pieces. Layers are applied in alternate directions and smoothing the plaster strips as you go along keeps the surface nice. Students will likely enjoy the activity after the teacher and a volunteer have demonstrated it to them. Students' plaster masks will be ready for removal from faces in less than 30 minutes. Again, care must be taken in cleaning up any plaster residue left on the students' faces. Use a paper towel to remove all possible Vaseline and bits of plaster before allowing the student to wash up. As an addition to the lesson and as a support for further meaning, masks can be finished with the inside and the outside considered. The interior of the mask could provide a metaphor for how the student envisions himself or herself, while the outside could form the impression of others or that which the student wishes to present to others. The assertion of identity on this level begins with a mixture of internal and external factors, and allows students to interpret perspectives on American Indians and qualify the existing statements for accuracy. In this portion of the unit, students begin to understand that identity is developed through an ongoing process of self-exploration, as they work to represent themselves through the composition of their masks and by the process of choosing materials and determining the identifying features.
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