The Fool

My first direct experience of the fool in masking was watching Morris Dancing here at home in Yorkshire, England. The Morris dancers were dressed up in their usual dancing shoes with bells and baggy pants. To be absolutely honest I have always found Morris men a bit funny! Perhaps I should explain about Cecil Sharp, no I’ll leave that to a footnote.

The Boars Head Morris Men were dancing in a pub car park. ( Pub short for Public House a place for drinking beer etc. in the UK.) They were doing the usual dances that are related to fertility, good crops and harvests etc. But of course they really don’t quite have the pagan beliefs off pat. Mind you when you see them drink ale in the quantities that they did then you would realise that they had perhaps fully understood the pagan ways of having a good time. ( Not to say all people who follow the pagan ways drink lots of ale, just a convenient concept )

What you are probably asking by this juncture is this to do with fools?

Well the Boars Head Morris Men had a masked fool. He was complete with boars mask pantaloons and boars headed stick. He also carried a bucket for collecting cash donations for charity, or maybe beer money. He followed the dancers mimicked them and cajoled the watchers for change to fill his bucket.

Interestingly I knew the fool quite well and in real life, with out the mask, he would never do what he did with the mask. Being English he was just far too polite!

The Boars Head stick became a threatened cudgel, never used, just pointed and waved. The mask was a place to hide behind, for a normal everyday person. As you will find by looking further on this site the mask allows people to change personalities. He bullied and pranced and enjoyed his dual mission to collect money and to protect the dancers from the crowd. Sometimes the children get too close. That is not allowed. Sometimes the dancers space is threatened by cars entering the parking space. Wow! That is not a good idea!

But suddenly the fool sets off in pursuit of three attractive women. He rattles his bucket and rounds them up as a sheep dog would. They are pressed into donating generously. He just leaves his dancers unprotected to fend for themselves. The next ten minutes is exchanged in good natured banter. ( The wife of the fool is present! )

The above is from memory, probably about 20 years ago. In terms of mask traditions that is very recent. For mask traditions can be traced back at least 25,000 years. I am certain they go back to the time of the first questioning peoples; 50,000……………..or more years?

What then is this reference to fools and masking traditions. Well as you dig through this site you will find that the fool crops up in several other traditions.

In Masquerade the fool is an essential figure. On the surface he, occasionally she, is the one who keeps order. He controls the children, he stops their prying eyes invading the dressing room. His stick maintains the performance area. He cracks jokes, entertains, juggles pulls faces and GETS VIOLENT. He chases the children with a whip and hits them mercilessly if he gets the chance. He tries to seduce women, and does if he can!

Suddenly he becomes bored and goes away to sit and talk philosophically with a group of friends from his unmasked time. As the conversation progresses he introduces new ideas. He begins to ridicule the accepted norm. He questions the accepted reality. He attempts to turns arguments on their heads

The Ubiquitous Fool

The fool is a ubiquitous. The fool occurs in the masking traditions of North and South America, Africa, Europe, Asia, China, …………………… if you know some more please fill in my blank.

Universally the fool treads the line between normality and the incongruities that the world. The fool is both sensible and totally none-sensible. Not that he does not use his senses he just uses then in a different way. He questions and cajoles. He jokes and makes fun of others. Yet when someone over steps the arbitrary boundary, (who decided ) he changes. Suddenly he becomes the quiet hearth cat, the sleeping feline, domesticated, sleek and silky. And as you stroke and pleasure the cat she begins to become claws and teeth and worse growls. He becomes the raging tiger, claws and teeth.

What is the role of the fool?

The fool traditionally questions. S/He challenges the norm. S/He goes beyond the routine and everyday. S/He crosses the boundary between the physical and the spiritual. The fool knows both sides but sadly does not understand either. The fool is beyond judgement but is incapable of judging. The fool is a go-between, a hinderer, a creator and destroyer. He sets things up only to break them down.

To be honest I love the fool, because I feel I am one, at times. The fool embodies the contradictions of the world. He accepts our human frailties and simultaneously challenges them. For those of you who know the symbols on the tarot cards consider the fool, for those of you who do not make some time to find out.

Some Examples of Fools in Masquerade Italy In Masks the Art of expression Cesare Poppi describes the Carnival at Moena in the Italian Dolomites. Two Arlechign, a local version of Harlequin, lead the masked group. They are dressed in chequered costumes, with a tall pointed cap below which is a loose veil giving them a featureless appearance. They carry horse whips. Around them the crowd of cheering young boys follows their moves. Suddenly the dash into the youths slashing fiercely with the horse whips, striking vicious blows to the confused youngsters. Panic ensues. A pleasing village scene has suddenly been turned upon its head.

China In China, or your local China Town, when the New Year is celebrated the Lion Dance is performed. This often acrobatic masked dance is performed by, usually two dancers accompanied by two Happy Face dancers wearing their papier mache masks complete with large grins painted on them. As the dance progresses through the streets the dragon collects lettuces and money to help bring luck in to the New Year. Around the dragon the two fools pester the crowd for money and simultaneously keep the crowd, especially the children, at a safe distance.

Pacific West Coast

Noohlmahl

During Kwakwaka’wakw Potlatch ceremonies in the West Coast Areas of Canada another fool prowled around. He is Noohlmahl. A filthy creature with a long nose from which snot streams he is up for a laugh but should the watchers mention his state, especially his nose, a violent reaction can be expected.

Iriquois False Face Society

The Iriquois False Face Society also have a fool mask to support the processes of healing that they undertake. These corn husk mask are relatively simple and disposable. As with other traditions the fool plays his amusing and organising role.

Playfulness has a major place in many masquerades.

In our lives we all play the fool, despise the fool in others and love the fool who entertains. Sadly the fool who entertains can also be torn apart by internal mental divisions.

The masked fool is the one who maintains order and at the same time questions it and sometimes on a whim destroys it. Traditionally the fool treads a fine line between the known and the unknown, the acceptable and the unacceptable. Even without the mask I am sure you recognise the fool in your life.

The fool is a universal being. Today (15/12/04) I lost my fool, she was our cat. If you wish to know she died of old age. She had the soft luxury of a purring fur to stroke and in a moment she transformed into a fanged biter. She had the gourmet taste of a French chef yet licked her own arse. She refused to go outside when the wind blew, because it was cold, yet sat happily on the wet grass when it was raining and blowing a gale. Tango, the cat, was my fool, just as I was hers when playing hide and seek. I loved her affection and was saddened by her rejection of the food I gave her. All in all Tango, our family cat, was all contradiction and beautifully herself. She is a very missed little being.

Footnote

Cecil Sharp collected folk sings in the British Isles. Amongst folk enthusiasts he is something of a hero as he preserved may folk songs and traditions. He was instumental in helping preserve the hundreds of different Morris dances. Yet as with the song lyrics he collected they were purged for naughty bits. Anything that went against his strict Victorian morality was censored. The whole of British folk tradition was made "nice".

Inspired by Masks the Art of Expression ed. John Mack ISBN 0-7141-2530-X and other sources that I have read and internalised long ago.

© Ian Bracegirdle 2004 1 Elderberry Close East Morton BD20 5WA UK 01535 692207

http://mask-and-more-masks.com You may use this article freely on condition that you include this copyright line and URL and that people who subsequently use this article follow the same conditions. Thank you for accepting these conditions.

Ian Bracegirdle is a teacher, course leader and therapist. He is the creator of the site http://www.mask-and-more-masks.com a site for all interested in masks. Ian is fascinated by the art form of masks as well as the cultural connotations. He has researched many areas of masks and recognise common links in many ancient traditions. He believes our current masking traditions are linked back to the time of shaman and other forms of magic predating monotheist religions. The earliest masking records are at least 25,000 years old.

Original Tribal masks are often seen by unknowing eyes as art objects in themselves. That is not the case, unless of course they are modern copies. A tribal mask has embued power and is alive during the ceremony for which it is used. An African visitor to a London museum stated, "This mask is dead." He was seeing the mask out of context, it had lost its power for the people who created it and the the magic had died.

To the collectors eyes the very appearance of the mask and the story behind it leads to the magic. The mysterious art forms drawing on the imagination and a need to interpret. As a piece of art it has the power to involve the observer in fathoming meaning to reach an understanding. This can move the viewer into a different frame of reference. Touching a life style that is at once strange and distance, yet it has the feel of something closer to home. A paradox that seems to arise in studying older tribal ways. In a collection this is magic.

It is also important to appreciate that nearly all masks are part of a full costume. Often the costume is made from less durable materials and does not survive. Indeed some masks are also made of less durable materials, such as the basketery Yam mask, created by the Abelam in Papua New Guinea. And again some masks are destroyed as part of the ceremony for which they are used.

The commonality in masking traditions

Delving back into the earliest recordings, historically, a visit to the caves of Trois Feres in France is enlightening. Picture this painted Paleolithic scene.

A central figure stands wearing the head and antlers of a deer. He stands, shaman like, surround by animals. Animals that are important to the culture he represents. Some of the animals no longer exist in this area. Ibex, reindeer, bison, stag and horses. The shaman, for that is what he seems to be, stands, a human figure amongst the potential food. What magic he is creating or ancestors he is communicating with we do not know. Yet from our knowledge of tribal people studied in times closer to ours it is possible to understand the links. The need to hunt for food is essential to survival. The gods link all matters, stay in good standing with the gods and food will be available. Take only what can be used fairly and do not violate the natural laws. Life goes on, following the seasons. There is a balance to life and death. The link between them is maintained by the magician, shaman, wizard, witch doctor, whatever you wish to call him.

During my studies of masks this relationship between the magical and the shaman constantly arises. There is a commonality between the ancient cultures of the Pacific West Coast of North America ( now Canada and Alaska ) and the tribal traditions of Africa. Fertility, the hunted animal, ancestors, initiation, circumcision, cannibalism real and symbolic, healing and crossing over into the spirit world for guidance and healing powers or to appease the gods or ancestors. All these occur in different traditions spread around the world.

As you allow yourself to delve into the traditions surrounding masks in Europe something interesting arises. Here the traditions have been sanitised by the surrounding culture and the church. Yet when you delve back and attempt to understand the masking traditions, now displayed as folk lore, ineresting parallels are revealed. Whilst in Belgium I witnessed a processions depicting witches and and modern giants. Other masquerades also have links to witchcraft and by implication to shaman. One powerful link is the seasonal nature of many traditions. The Green man and the Hobby horse being two examples.

Forgive me. I could continue to wax lyrical about the links in our current traditions seen as folk lore to those of our ancient ancestors. To me there is a tremnedous link which is bound up with the very nature of the people we are and how we have developed. Our formative roots live in our societies now. That is why I find masks so powerfully evocative. Along with other forms of primitive and traditional art we can trace our own links to earlier times. Even today the shaman / magician exists following ancient magik rules.

Even modern latex masks contain some of the same magic, because they are linked back to the same collective unconcious and traditions of masquerade, disguise and the spirit world. As a school teacher I have come across some quite vociferous reactions by parents to having Halloween in school. Some see its pagan links and reject it. The seam runs deep into the modern psyche. Perhaps the most potent place to view this link is in the Mexican Day of the Dead Celebrations. This festival combines a mix of Christian and Pagan practices. In particular Halloween has a juxtaposition between the dead and children. Here children are masked to scare away the evil spirits and look after the dead. By this means a link with the ancestors and children is perpetuated.

Another fascinating link between the masks of many cultures is the fool. The fool has many characteristics, the most noticeable of which is paradox. The fool can be wise and foolish; handsome and ugly; playful and barbaric. He straddles the line between the extremes of the other masks switching from one role to the other. Perhaps the fool simply represents the many dualities and paradoxes in life.

Also the fool plays a full part in the staging of the ritual. Noohlmahl in the Kwakwaka’wakw rituals is a grotesque creature covered in hair with snot pouring from his nose. He struts about entertaining the crowd, making jokes and anticipating reponses. Should the reponses become too familiar a violent response could be expected. Of course the responses to the watchers comments could be of another more humourous nature. Surprise and paradox are essential to the nature of all fools. Another of his jobs is to control the children. He treads the line between clowning for them and ensuring that they do not disrupt proceedings. As with the inappropriate comments from adults a violent response can be provoked should the children, literally, over step the line.

To return to my original point masks are a way into the very nature of our being. The mythology of the Palaeolithic times is linked directly to tribal mask and western folk lore masks. For me this is why the mask holds such power and magic. The mask allows us to physically touch and share our past in a way which few objects can do. Tribal Masks carry a universal signature that appeals to our nature.

© Ian Bracegirdle 2004 1 Elderberry Close East Morton BD20 5WA UK 01535 692207

http://mask-and-more-masks.com You may use this article freely on condition that you include this copyright line and URL and that people who subsequently use this article follow the same conditions. Thank you for accepting these conditions.

Ian Bracegirdle is a teacher, course leader and therapist. He is the creator of the site

http://www.mask-and-more-masks.com a site for all interested in masks. Ian is fascinated by the art form of masks as well as the cultural connotations. He has researched many areas of masks and recognise commonlinks in many ancient traditions. He believes our current masking traditions are linked back to the time of shaman and other forms of magic predating monotheist religions.The earliest masking records are at least 25,000 years old.

The following is a general over view of African Masks.

There are still places in Africa where genuine old masks can be bought, generally through dealers. Also watch out for fakes as they do abound. Remember buy things you like as investment can go up as well as down. If you like that carving or mask then the value is not as important.

The African masks of this area are well documented by Ladislas Segy in Masks of Black Africa. Much of the following section on African Masks is influenced by his work.

The African masking traditions of this part of the World are extremely fertile and varied. The traditions supporting the masks are generally associated with the spirits of ancestors, rites of passage, fertility and initiation ceremonies. Dance is generally involved in the use of the masks. Segy lists the following types of ritual:-

Rituals of cosmology, myth and mythological heroes or animals

Fertility rites

Rituals for increase

Agricultural festivals

Rituals for rites of passage

Ancestor cults

Initiations including secret societies

Related Ceremonies

Masks can be used for different ceremonies often having multiple purposes. The size and style of masks are diverse, depicting animals, human faces and more abstract styles in sizes from a few centimetres to 4.5 metres in the case of the Dogon Iminana ( mother mask ). With only a few exceptions the masks are all part of a full costume and not just an isolated piece of decoration..

Segy notes:-

Face coverings

Helmet masks

Headdresses Masks with prominent breasts

Amulets

Insignia of grade

Crowns of bead work

Materials

Wood The major material was wood due to the large forest and range of species available. The choosing of a tree from which to make a mask was not as we might do today, find one and chop it down. Rather the carver would seek the help of a diviner and undergo a purification ceremony and when the first blow was struck he would drink some of the sap in order to form a brotherhood with the tree?s spirit. Mask would be carved from one piece of wood with nothing jointed, with some of the masks this created severe technical difficulties when the early carvers only had simple tools.

Usually green timber was used as this was easier to cut. Certain vvarieties would be used for some special masks, but in general the softer woods were used

Ivory was used by the Warega and Benin. The ivory was the property of the Benin kings (Oba) and they were the only ones to wear ivory as a mark of office. The carving of the Warega was not as refined but has a strong impact.

Brass was used by the Benin, Senufo and Ashanti.

Other Materials Knitted materials were used as were beadwork, basketry and fabrics.

Additional materials included :- shells, beads, twigs, bark, teeth, hair, beaten or repousse metal, vegetable fibres and skin, to mention a few.

West Africa

The masks of this area are well documented by Ladislas Segy in Masks of Black Africa. His book lists the following areas:-

Guinea-Bissau

Republic of Guinea

Sierra Leone

Mali

Liberia

Ivory Coast Upper

Volta

Ghana

Nigeria Cameroon

Within each of these countries can be found ancient traditions associated with individual tribes displaying common links. The areas associated with some groups cross boundaries. The names of the different tribes is too extensive to list at the moment.

Equatorial Africa

Congo Zaire Zambia

Similar themes and traditions are found with the masks from this area when compared with those of the Western countries. In the early Fifteenth Century the well established Kongo people had close contact with the Portuguese and later some converted to Christianity. This has had some influence on the type of festivities and masks. The Kongo dominated various tribes in the area of these the Woyo and Yombe produced notable mask The Ndunga masks of the Woyo were larger than life size and had projecting foreheads large cheeks with small eyes, the surface of these faces was painted with white or brightly coloured asymmetrical designs.

The Western Pende on the Kwilu River in Zaire have two major types of mask. The Minhajl, which represent the ancestors and the Mbuya which represent various village characters such as the fool, the prostitute, the chief etc. These masks are used in the reinforcement of socialcontrol. The amusing performances are brightened by the triangular faces of the masks with bulging eyes, open mouths containing carved teeth painted in a variety of colours. The more powerful Minganji masks are simpler circular forms made from raffia with tubular eyes and no other features. All the masks are constructed in secret away from the village.

In the Makenda circumcision ceremony the Mbuya appear from out of the bush and dance in the village square until dusk. As the sky darkens, Minganji, masked dancers, materialise and move around the village at a distance, helping to develop the sense of awe and unease. In the secret circumcision camp the initiated youths are allowed to handle the mask as they are now fully fledged members of the society.

Many other styles are found in these areas.

East Africa

Tanzania and Mozambique are both home to the Mekonde one of the best know tribe of mask makers in East Africa. The Mekonde masks come in various styles, the southern groups using the helmet type. The features of these masks are often realistic and are worn with a cloth covering the head of the dancer. Scarification is used. The characters represented are familiar to the local people:- the old man, the doctor, the young woman and the Arab, some animal masks are found.

Over view

It must be noted that the masks of Africa represent a wealth of forms and designs which have been well collected and catalogued. The total range is by no means represented here. The common connections between the masks and the different groups are obviously strong.

Would you like regular updates on the Masking World?

© Ian Bracegirdle 2004 1 Elderberry Close East Morton BD20 5WA UK 01535 692207

http://mask-and-more-masks.com You may use this article freely on condition that you include this copyright line and URL and that people who subsequently use this article follow the same conditions. Thank you for accepting these conditions.

Ian Bracegirdle 2004 1 Elderberry Close East Morton BD20 5WA UK 01535 692207 http://mask-and-more-masks.com

Teacher, Course Leader, Mask maker. Ian has studied and taught masks making and information for several years. He sees masks as a link back to our cultural origins.

I have a small website where I try to sell custom-made lapel buttons. In addition to these made-to-order buttons I also offer several specialty lines of off-the-shelf items and at this time of year I’m usually concerned with one of those lines in particular: Irish heraldic buttons. St. Patrick’s Day approaches.

I’m in no sense an expert on heraldry. Still, although there are many button sites like mine I’m not aware of any other with a line of products like that one and I don’t know why that should be true. It struck me the other day that heraldry might offer a wide range of opportunities for specialization–and to craftspersons in almost any field from pottery to needlepoint to weaving, rugmaking, and even quilting.

It’s true that we no longer live in the age of chivalry and that not all Americans are caught up in the study of their ancestry and ethnic heritage, but surprisingly many of us are. For example, Overture reports that in November of 2004 the exact phrase "Irish heraldry" was searched for on the web 140 times. Note that this doesn’t include possible searches for related terms like Gaelic, Celtic, shields, crests, coats of arms, etc. And it says nothing at all about searches for heraldic information from any other part of the world or for heraldry in general. As a matter of fact, during the month of November the word "heraldry" was used in 11,869 searches, so it seems that a market may well exist.

On the other hand, heraldry may be considered a rather nerdy topic in the modern world. I’ve noticed that many people today fall below the snuff-line when it comes to their basic knowledge of heraldry. There’s no reason why they should know anything about it if their objective is merely to copy an occasional coat of arms onto some products that they’ve made, like, for instance, some dinner plates or a sampler. Yet a few paragraphs of information about coats of arms may be interesting to any who can see the possibilities in the use of heraldic themes as a quasi-specialty in their work.

A discussion of heraldry must begin, first and foremost, with the idea of the shield. The shield, I would guess, is probably the oldest piece of weaponry other than the club. The earliest shields were made of tough skins stretched over wooden frames. Their shape was probably roundish, and the round shield served very well at least through the days of the Roman Legions.

As body armor grew more cumbersome, it became more and more difficult in the heat of hand-to-hand combat to determine who was who. An early step towards solving this problem came when warriors began painting identifying symbols on their shields. By the time of the Middle Ages these symbols were becoming strictly codified and proprietary. The persons charged with keeping track of them were high government officials called heralds and a technical language, something that looks to us today like a strange mixture of English and French, was growing up around them to describe them.

In all probability this language was really not strange at all, but very similar to the ordinary speech of the times, that is, the period after the Norman conquest of England. Yet people who discuss heraldry seriously still use these terms today, and that is no doubt one more reason why the study is no longer cool. It should of course not be obligatory to use "or" for gold or "vert" for green when writing in modern English, but that’s how they insist on doing it.

To satisfy a herald, a full "coat of arms" had to include many things besides the basic shield. By the time that the practice of heraldry had spread throughout Europe a coat of arms included at least the shield, the motto, the helm, the wreath, the crest, the mantling, and possibly several other things as well.

Surprisingly, the shape of the shield didn’t seem to matter much. Books on heraldry often show ten or fifteen different common shapes. And not every heraldic shield was even intended to resemble an actual shield from the field of battle. The right to a coat of arms, for example, was often granted to females, and the shield in such cases was typically drawn as a lozenge or diamond-shaped object. Many shields such as the so-called "jousting" shields are sometimes drawn as crazy, free-form, asymmetric shapes.

Very often a shield’s area was divided, maybe to signify the merging of two powerful families. In such cases, all the charges (pictures, or "bearings") shown on both original shields would usually be retained, each group confined to its own partition of the merged shield. There were, naturally, technical terms for any number of different ways to divide the area of a shield: per pale, per fess, per chevron, per saltire, etc. There were even different stylized lines used to separate the segments. A simple straight line might do the trick, but it could also be "engrailed," "embattled," "indented," "wavy," "dovetailed," etc.

As for the charges, they merit a separate treatment. They include not only lions and eagles in various poses, but a wide variety of birds, mammals, fish, and mythological beings. Parts of the human body. The sun, the stars, and many forms of vegetation. Structures and ships, books and bells. And each of them has its own specialized meaning. For instance, a dragon stood for vigilance, a snake for wisdom, a boar for a fierce fighter, a swallow for someone who had been dispossessed of land. A cross might indicate that the bearer or one of his ancestors had fought in the crusades, and the arms of a sailor would often show a ship.

As is obvious from those few examples, the meaning of some charges still make at least some sense to us, while in other cases their meaning is baffling. Different kinds of crowns can indicate different ranks of nobility; that’s logical enough. But a finger ring, for instance, might symbolize a fifth son, and a tower might stand for wealth.

Heraldry is a colorful topic in every sense. One continually runs into larger-than-life characters. Here’s one, chosen more or less at random:

Sir Francis Drake was definitely a sailor, and his arms definitely showed a ship. And what a ship! Most ships that I’ve seen in heraldic designs seem to have one mast but this one has three. There’s a dragon or griffin seated in the stern with wings outspread. The ship rests atop a large globe of the world showing us the Atlantic Ocean, and above the ship a hand emerges from a cloud pointing at the ship something that looks very much like a microphone plugged into the bow. (I don’t know what it is.)

All of that constitutes merely the crest and, as is to be expected, the crest is resting on a wreath and the wreath is above the helm. Below the helmet we finally reach the shield, an amazingly simple shield, given the complexity of its surroundings: on a black background, a silver wavy fess (horizontal area) represents the sea between two wavy stars representing the pole stars. The whole thing commemorated Drake’s circumnavigation of the earth in 1577.

These arms were granted to Francis Drake by Elizabeth I, but he seems to have been a fairly headstrong individual and kept adding bits and pieces to which he had no real right. This tendency got him into a long feud with an unrelated Drake family from whom he swiped elements for his own arms. (In fact, he did that twice. After the other family had successfully defended its claims against him and he had removed the offending bearings from his arms, he later decided to put them back where they didn’t belong.)

All of the major online bookstores have, or can locate, many pages full of books on heraldry, from modern works to out-of-print classics and intended for experts or beginners.

Jim Donnelly is based in Fresno, CA. He offers to produce pin-back lapel buttons of any description at all, with any photo or drawing and any wording that will fit and that doesn’t include treason. You can sign up for his free newsletter on the home page of his website, http://www.badgecrafters.com

The Rooster is traditionally considered to be a favourable sign. His crow signals the break of dawn and the beginning of a fresh start, driving away the ghosts and evil spirits of the night. He is the only creature of the Chinese zodiac with wings and, as such, is regarded as the messenger that connects the two worlds of heaven and earth.

He has five virtues: knowledge, military expertise, courage, benevolence and credibility. His crest, `kwan’’, means coronet, and represents the pen, the symbol of knowledge, while his claw symbolises the sword of military skills. When confronted by an enemy, the courageous Rooster fights till the end without retreat. When he finds food he shares it to show his benevolence and he demonstrates his credibility by never failing to crow on time.

2005 is the year of the Green Wooden Rooster. Green is the colour of hope, of Spring, and of Youth, so this year will be exceptionally good for the application of scientific achievements to production and new creative work. Wood symbolises family values and astrologers say the family will constitute an integral part of everyone"s life this year. Practicality, business attitude and diligence will be valued highly and those who pay attention to even the slightest details will achieve remarkable heights

The Rooster is a very fertile bird, so tradition tells us that this will be the best time to find your true love and form a family of your own. Roosters are also communal creatures so 2005 promises to be a lucky one for joint ventures. Astrology suggests we should sign as many business contracts as possible and form new partnerships in the upcoming year. However, no matter the business, family interests should always come first!

The Rooster Person. Those born in rooster years are described as having a strong desire to be constantly at the centre of attention. Cheery, sharp and humorous, the magnificent Rooster will never pass up an opportunity to recount his adventures and specify his accomplishments. He is a flamboyant personality, feisty and obstinate, the proud extrovert who loves to strut his stuff. Outwardly confident, the Rooster is also a trustworthy, hardworking individual who speaks frankly with no qualms or reservations.

Roosters are very loyal. They detest dishonesty or mockery of any sort for they are direct and honest people who expect those around them to be the same. Roosters are happiest when they are surrounded by others, at a small party or a large social gathering, in some way enjoying the spotlight. A Rooster will either like you, or he won’t - there’s no middle road. Although they are vocal with opinions and ideas, Roosters are pretty tight-lipped about their personal emotions and feelings and rarely wear their hearts on their sleeves. They are intensely private people.

East meets West

The upfront Aries Rooster is blunt, yet witty, unafraid of criticism and fond of sharing his points of view. Honest and trustworthy, this Rooster expects the same of others.

The hard-working Taurus Rooster is motivated, industrious and reliable and finishes what he starts, but must learn to relax more.

The sharp-minded Gemini Rooster is an efficient organiser who loves a good, solid debate, often on political or environmental issues.

The loving Cancer Rooster is a kindly and sweet individual who enjoys the company of friends, family and animal companions. But beware if he shows his claws!

The flamboyant Leo Rooster is full of energy and charisma but also deeply sincere and compassionate.

The logical Virgo Rooster, although extremely efficient at completing tasks too difficult for others, may sometimes be too detail-oriented.

The organised Libra Rooster is sophisticated and urbane, admired for his good taste and attractive appearance.

The determined Scorpio Rooster is a motivated goal-setter who hides his deep emotions.

The open-hearted Sagittiraius Rooster is a likeable free spirit, honest and down to earth with a tendency to sometimes put his foot in his mouth.

The practical Capricorn Rooster wants to succeed, and his intellect and drive make him want to be in charge.

The non-conformist Aquarius Rooster is creative and clever but needs motivation.

The sensitive Pisces Rooster is just as stubborn, yet not as blunt as other Roosters. He considers the feelings of others and avoids confrontation or discord.

Whatever Rooster you may be, whatever animal of the Chinese zodiac you are, this year of 2005 will bring creativity, diligence and family strengths to the fore. The official day of the New Year is 9 February, the Tiger month, make sure you wear something green and don’t, whatever you do, eat fowl on that day.

Sun nien fai lok ! Gung hay fat choy !

Susanna Duffy is a Civil Celebrant, grief counsellor and mythologist. She creates ceremonies and Rites of Passage for individual and civic functions, and specialises in Croning and other celebrations for women. http://celebrant.yarralink.com

Vastu is one of the most ancient sciences of Indian architecture and is composed of specific rules, regulations and directions, set down by sages of the vedic times. For the modern society it is the highly evolved, comprehensive building philosophy.

According to vastu, a building or a premises is a living organism and can be designed in harmonic resonance with the underlying energy structure of the universe. Such a building or premises becomes a generator of coherence, attuning the occupants to the universal laws and increasing health, wealth and spiritual well being.

Prosperity of Famous Tirupati Temple

World famous Tirupati temple is found adhering to the principles of vastu shilpa shastra. Its prosperity legendary thanks mainly to the exemplary implementation of the principles of Vastu Shastra. The main temple is situated on the South - West side of the temple complex. On its North - East direction is a lake and pond. The dining hall of the temple is on South-East side while the North-West and North side of the temple is allocated to the godown for grains and items require in the kitchen. The entire temple complex is of square shape as a result of which its axis and that of the Earth are perpendicular to each other. The main temple is occupying only the one fourth area of the total areat and on its Eastern and Northern side is open area. Thus the Tirupati temple of Lord Balaji is an ideal place according to the norms of Vastu Shastra which is why it is the most prosperous temple on the earth.

Prosperity of Japan

Inspite of a small country, Japan has progressed tremendously. It has a large water body - the Pacific ocean in its North-East direction. The eastern side of Japan is widely spread and open. Thus Japan gets full benefit of the rays of the sun. This gives Japan a maximum benefits of Vastu & made this country rich and prosperous. But it has sea in Southeast and south, which is a place for Fire, this The Japan has suffered the attack of atom bombs explosion and earthquake ,as it has sea in south east and south.

Prosperity of London

Prosperous city London is ideally situated according to the principles of Vastu Shastra. The Thames river is in the east direction. It has more parks & garderns in the North west & East. Many famous Educational institutes & universities are located in the North east corner. The boundry of the England is more towards North & East directions- a positive directions to capture benefical morning sundrays ,according to vastu.

Prosperity of America

Looking at the map of America, the country is more located towards east side than west. Also the extention is more towards north east, which is auspicious. It has huge lakes in the north east location. As one progresses towards North-East in United States of America the land becomes richer and richer, it is found.

At the root of the progress and prosperity of the cities like New York, London, Mumbai, Singapore, Hong Kong etc. are always the benedictory principles of Vastu Shastra, it is found.

Prosperity of Mumbai

Mumbai, a rich port has a water body to its North – East. All major lakes for drinking water are situated in the North east direction of Mumbai. It has an atomic plant represting Agni (Fire) in the south east of the Mumbai. Fire is a key factor in prosperity of any vastu premises or location. It has more ocean in the West, the perfect location for Vayu (Air).

Spiritual prosperous India

In India, Slope is more towards east, which is auspicious. All important rivers are flowing towards east, that is why country is more rich in spirituality. Thousands of westerners flock to India for spiritual enlightenment. India has the Himalayas in the North of the country which is against vastu, thus there is lot of poverty in the country. There is water in Southwest and southeast side of our nation, thus we have to face the attacks of foreign empires & lot of expenditure on defence.

About The Author

Dr. Nitin Parmar

http://www.vastu999.com

parmar@vastu999.com

The export of certain Inuit sculpture from Canada to other parts of the world including the United States does have some restrictions. In order to reduce harvesting of marine animals such as whales and walruses, the United States Congress passed the Marine Mammal Protection Act in 1972. It was later modified in 1981 and a special section (101) of the act was developed to exclude Eskimo Inuit and other aboriginals living in the state of Alaska. Section 101 allowed Alaskan Natives to continue their traditions of hunting marine mammals for food and using parts of such animals as raw materials in the making of clothes, crafts and artwork.

The act makes it illegal for American citizens to import any ivory or whalebone from outside the United States. Therefore, American citizens would not be allowed to purchase any artwork containing ivory or whalebone from Canada and have it brought or shipped back to the United States. However, the act as it stands allows American citizens to purchase similar artwork from Alaska since it is part of the United States. The export of such artwork created from marine mammals from the United States to Canada is not allowed.

Inuit sculpture containing whalebone, walrus or narwal tusks (both considered ivory) are restricted from import and export. However, Inuit sculpture containing caribou antler is allowed since caribou is not a marine mammal and therefore does not fall under this act.

Exporting Inuit sculpture containing whalebone or ivory from Canada to other international destinations will depend on each specific country as each has its own specific regulations. Fines or penalties for importing or exporting illegal items can be very severe.

Fortunately, other forms of Inuit art such as stone or antler carvings and prints are not only able to be exported across the border, but are actually duty free.

Clint Leung is owner of Free Spirit Gallery (http://www.FreeSpiritGallery.ca), an online gallery specializing in Inuit Eskimo and Northwest Native American art including carvings, sculpture and prints. Free Spirit Gallery has numerous information resource articles with photos of authentic Inuit and Native Indian art as well as free eCards.

Both Inuit Eskimo art and Native American art have gained international recognition as valuable art forms over the past few decades. However, the rising popularity of both Inuit Eskimo art and Native American art has resulted in the increased proliferation of imitations and mass-produced reproductions of original Native arts. Some obvious fakes are made in Asia from molds where the finished pieces are forms of plastic, resin or ceramic.

Other fakes are actually made of cast stone simulating actual Inuit Eskimo art carvings and wood for imitation Native American carvings. These fakes, which are harder to distinguish from authentic artwork, are often hand carved reproductions of an original piece of artwork. Workshops have illegally reproduced hundreds of copies without the artisan’s permission. The counterfeiting companies would then attach some type of tag that claims the fake pieces were influenced by aboriginal artisans and even background information on the Native designs used in the artwork. Some even go as far as adding in Inuit syllabics on the bottom of the fake Inuit Eskimo art carvings.

These are very deceptive tactics on their part since they give the consumers the impression that the imitations are authentic and income producing for the aboriginal communities.

Fakes and imitations have lowered the image of authentic Inuit Eskimo art and Native American art. Sales of genuine aboriginal artwork have declined which in turn have deprived aboriginal artisans of income. The argument against these claims is that not every consumer can afford to buy authentic Inuit Eskimo art or Native American art so the souvenir level reproductions legitimately meet this part of the market. The imitations, which are usually low priced, enable students visiting Canada for example, to bring home a Canadian souvenir without breaking their travel budget. This claim would have more support from Native communities if aboriginal artisans were paid a fair royalty as income for each imitation and reproduction piece sold. However, this is seldom the case since most of the time, no royalties are paid at all.

The obvious fakes can be spotted quite easily. An imitation of an Inuit Eskimo art carving spotted at a gift shop was not made of stone as it was not cold to the touch. It was very light in weight unlike a stone which has some mass to it. The detail and the bottom of the piece had the molded look to it. There was even a sticker on the bottom with the company name Wolf Originals. Side by side comparisons of similar pieces in the souvenir store revealed that they were all identical in every detail, which is impossible for original artwork.

A black totem pole had a very flat uniform back and bottom again giving away the fact that it came from a mold. Other totem poles made from wood or mixed wood with a claim that they were hand painted were among many similar pieces in the store. All of these examples were each priced less than $20 Canadian which was another indicator that they were not original artwork.

Imitations of Inuit Eskimo art sculptures were recently spotted for sale in shops located at major Canadian airports. From a distance, these Inuit Eskimo art sculptures of hunters, polar bears and Inuit women with children looked very authentic. However, each piece had several identical copies on the same shelf.

To avoid accidentally buying a fake or imitation, it is suggested that consumers buy Inuit Eskimo art and Native American art from only reputable galleries and dealers rather than from tourist souvenir shops. A piece of original, authentic Inuit Eskimo art or Native American art is one of a kind. There should be no other identical pieces on the shelves. In addition, original Inuit Eskimo art carvings should come with an Igloo tag (or sticker) which is a Canadian government registered trademark. Inuit Eskimo art carvings that are certified by the Canadian government to be handmade by Inuit artisans, come with Igloo tags.

Clint Leung is owner of Free Spirit Gallery (http://www.FreeSpiritGallery.ca), an online gallery specializing in Inuit and Northwest Native American art including carvings, sculpture and prints. Free Spirit Gallery has numerous information resource articles with photos of authentic Inuit and Native Indian art as well as free eCards.

Change is the only inevitably constant aspect of life in this world we all live in. Our cultures have been dynamic. In some places we experience a rapidly vanishing heritage. While others keep theirs and improve on them, others simply do not know what to do with theirs. Technology and new discoveries in science have greatly influenced global cultural values including a supposedly described ‘uninformed and primitive’ African continent. This is truly not the case. In fact Africa has gradually embraced a foreign culture as its traditional values are fast loosing their place in the scheme of things.

Across many races, many traditional items are quite symbolic as they serve the emotional and utilitarian needs within the immediate environment. These sociological elements differ from place to place. As humans there are similarities of purpose. There are some common needs and challenges even basic emotions in some cases irrespective of places of origin. At a point in time such solutions to these problems could be referred to in some quarters as being primitive, uncivilized, civilized, modernized, post-modernized or even futuristic. However, it is these similarities that ought to be recognised always.

Some of the things common to all of us would include our daily routine tasks, state of well-being, growing-up, clothing, relaxation, commerce, comfort, shelter, beauty, meeting up with the challenges of nature, the environment and the rest. Certainly there are traditional ways of dealing with all of them.

In Africa these traditional values are gradually being replaced by the culture from the developed nations. Why has this been so? It can simply be said that most humans would rather associate with a winner. The West is rich, with a developed society and it is powerful! Therefore many things about them are assumed to be fantastic to be emulated.

Therefore there is an element of obvious association with it at the detriment of cultural values. Suddenly Africa’s contribution to global heritage has reduced or it’s being threatened. Generally speaking, some parts of the globe are gradually losing their sense of history. However there is a consolation for the future that maybe, hopefully, the vestigial traces may reveal the forgone times.

Even within the developed nations those elements that are associated with their culture are rapidly changing. Attitudes, norms and other values are now quite unpredictable. This has been further threatened by the recent insecurity in play around the world. So at any point in time, how do we then know where we were, who we are and how things have been and of course where will we be? We, as humans can not really accurately decipher what is next.

Though, if presently a people have gone on technologically to improve their station in life while others have had theirs truncated is an issue to be investigated and solutions proffered. And again is it possible to have a hybridization in terms of the diverse cultures, the tradition and values across the globe instead of an over-riding culture from a people that its expected to sweep all over mankind as the acceptable norm?

Lastly even if a global culture evolves eventually one is always assured that its ‘bits of heritage’ would be questioned and the routine items used by all would hopefully be available to stimulate our thoughts to answer the queries of our past, present and future.

Muyiwa Osifuye
A photographer based in Africa
Contact http://www.pictures-of-nigeria.com

When humans set off to address fundamental issues about what and how life is to be, two important questions exercise the conscience though a middle-ground question could arise from these two. One question is: ‘how do we make humans the measure of all things for now and for things that are to come?’ The other question is: ‘how do we make nature the measure of all things for now and for things that are to come?’

The first question submits the direction of nature to the boundless will and self-determination of humans. The second question submits the drift of human development to the divine instructions of nature. The first question leads to an individualized culture - a state of affairs that lifts personal will and determination to the status of culture. The second question leads to a cooperative culture, the culture of sharing. These two different questions bring about the mystery in humans and dismiss the point that human nature is of a determinate form. Moreover, the questions are at the core of some of the confusion and conflict between two cultures, one largely individualized, and the other largely cooperative. Unresolved confusion and conflict could lead to war. A moderate position can be seen, which combines ingredients of both the first and second questions with the hope of generating a balance.

The present discussion will focus on the first question, that is, the question of an individualized culture.

Every living thing develops from one state to another in order to support the props of life. Humans, in particular, demonstrate this trait so clearly. Once we grow, both physically and mentally, development gets wedded to growth. Development is a more sophisticated human trait compared to growth. Generally, we regard growth as a change in size of a structure – from a smaller to a larger structure; but development has to do with a progress to a new level of advancement of a structure, an advancement that shows that the structure in question has – for better, not for worse - attained a glorious sophistication. Humans, therefore, develop to affirm this point.

It appears that since development is a natural necessity of every human, the collective human development is doubtless. Once we are all developing, life will be more sophisticated, advanced, better, cherished in all corners of the world. Moreover, any bestial instincts in humans will be progressively expunged and replaced by the rational instincts of peace and love. But the principle of development is not a fixed principle; it is varied within the context of an equally varied culture. In this sense, development ought to be viewed as culturally instructed. For this reason, any attack by one culture on another culture on the basis that the aggressor’s culture is the best neglects the two important questions that exercise the conscience of humans, as stated above. The neglect indicates a surge in arrogance, and, perhaps, ignorance.

Development need not push aside the cultural paradigm and stress on the atomistic individual as the route to development. An individualized culture, meaning a culture that is projected in countless ways by the distinctive doings of every person, presupposes the mastery of one’s self in any number of ways to face the challenges of life. By mastering the self, by advancing mental effort, the course of an individual’s action is expected to be largely mind-dependent; emotional endeavour gets sidelined, so too the idea of sharing. The creative instincts of a person, his/her ability to coordinate a definite consequence, are chiefly judged to emanate from an antecedent mental reflection. Herein lies the notion of an individualized culture.

But in order to pursue wants, in order to live according to personal tastes, individual minds have to deliberate differently. And since individual wants are very different from one another, it stands to reason that an individualized culture is undefined in content. Whatever pleases the self, the ego, much as it doesn’t conflict with other individuals’ mind-determined pursuits, is good for contributing towards the individualized culture. An individualized culture is full of self-determination though it is also full of confrontations with nature.

If to advance in life means a kind of mental reflection that enables one to attain a high level of personal development, then the secrets of nature, in whichever way it is humanly understood, have to submit to humans’ will. The difficulty in this lifestyle is that it does not limit the cognitive ability of humans face-to-face with nature. It prompts mental ingenuity to overrule the acts of nature. The search for the secrets of nature becomes a restless ambition. Morality, social responsibility, are judged within the scope of self-determination, not the mystic workings of nature.

What may have eluded the conscience is that nature is there for all time; and cognitive ability – or to use the more popular word, intelligence – has many faces to it. An obvious failing of the theses of intelligence inheres in the application of psychometry to judge a person’s level of intelligence. Psychometry insults the moral and spiritual basis of intelligence within either an individualized or a cooperative culture. Psychometry presumes that humans are encased in a mental powerhouse, a powerhouse that can be statistically measured, a powerhouse that is personal, that is a biological privilege; yet psychometry fails to reckon the gracious alliance that ought to exist between a person and the natural environment.

John is privileged in mental acumen because his biological structure has the advanced features that, by necessity, yield a high intelligence quotient (IQ), proponents of psychometric intelligence are prepared to argue. To see the immediate flaw in this contention, one has to understand that even with the genuine requirements of an individualized culture, self-determination, the will to conquer the secrets of nature, could take any number of ways in connection with any constructive direction that the mind commissions the agent in question. Should my mind direct me to engage in competitive sports and excel in this area instead of engaging in complex mathematical computations or logical analysis, then I am professing intelligence within the limits of an individualized culture. Am I, for goodness sake, expected to prove my intellectual insight by subscribing to the bogus tenets of psychometry? A similar argument can be advanced to explain the spirited intellectual pursuits of an agent in the area of science, the arts, any kind of entertainment, or any kind of morally right pursuit. One needs to respect and admit all such pursuits, and, thus, rid intelligence of any bias, any narrow definitions.

The theses of intelligence – and worse still, the theses of intelligence quotient – are inauspicious endeavours; for they provoke suspicions about the motives of their proponents. On the basis that few selected parameters - such as math, logic, subjective aptitude tests – are used to appraise a person’s intelligence, one is bound to conclude that IQ fouls a morally grounded and socially responsible culture, whether the culture in question is an individualized culture or a cooperative culture. Nevertheless, a culture built on the question of IQ may not be that bad should IQ incorporate any element of human action, mental or physical, that bears marks of creativity in any way. Also, the question of an individualized culture or a cooperative culture takes account of the natural environment though in varying measures. And this will explain that intelligence seeks to adapt to the natural environment whenever changes in the latter occur.

My meaning of cultural intelligence should, by now, be clear. Cultural intelligence seeks to avoid many of the pitfalls of IQ. The turn of intelligence for the better – which is a given – needs the unbroken service of the natural environment. Intelligence, thereby, becomes dynamic, a practical thing that conforms to cultural constructions. Intelligence quotient, or variations of it, is an unduly technical doctrine that hoists a dominant academic culture on numerous facets of life. An intelligence that obeys the doctrine of IQ forces itself to evolve largely in abstractions without a kindred connection with the natural environment. The agent becomes progressively technical, dry in social networks, full of machine traits. Whatever culture humans have happened to situate themselves has evolved the blessings of intelligence. To respect this point is in keeping with human decency.

About The Author

Mr. Ainsah-Mensah has worked in various capacities mostly in Canada and now in China. He is an education consultant, race relations consultant, projects coordinator, writer, post secondary instructor in business courses and life skills, and critical thinking. He is currently the principal of Handan-Lilac Education Group in China.

kamch22@yahoo.ca