2. A mask used in magic ceremonies of the Fang people of Gabon In most traditional African cultures, the person who wears a ritual mask loses his or her human identity and turns into the spirit represented by the mask itself. This transformation of the mask wearer into a spirit usually relies on other practices, such as specific types of music and dance, or ritual costumes that contribute to conceal the mask- wearer's human identity. Some of the most complex rituals that have been studied are found in Nigerian cultures such as those of the Yoruba and Edo peoples, that bear some resemblances to the Western notion of theatre.

3.  Senufo masks are created by specialist artists who live apart from the rest of their village. Senufo masks combine features of animals and humans in one design.  The Senufo artists have a very high status in their society as their masks and sculptures are believed to have the power to help communication between the living and their dead ancestors.  Senufo masks are used in the rites of the Poro society, a male organization that educates young men in the traditions and responsibilities necessary for their coming of age.  The Senufo worship their ancestors, particularly Kolotyolo - the ‘Ancient Mother’ who has so much power that she has to be carefully approached through intervention by lesser gods. A typical Senufo mask.

4.  Illustrations of theatrical masks from 5th century display helmet-like masks, covering the entire face and head, with holes for the eyes and a small slit for the mouth, as well as having a wig attached. It is interesting to note that these paintings never show actual masks on the actors in performance; they are most often shown being handled by the actors before or after a performance, that liminal space between the audience and the stage, between myth and reality. This demonstrates the way in which the mask was to ‘melt’ into the face and allow the actor to vanish into the role. Effectively, the mask transformed the actor as much as memorization of the text. Therefore, performance in ancient Greece did not distinguish the masked actor from the theatrical character.  The mask-makers were called skeuopoios or “maker of the properties,” thus suggesting that their role included multiple duties and tasks. The masks were most likely made out of light weight, organic materials like stiffened linen, leather, wood, or cork, with the wig made of human or animal hair.

6.  Masks in Ancient Greek Theatre were typically made from a variety of materials such as Linen, Wool/cloth, Wood, Cork and Leather. As an addition/decoration many masks had human hair or animal fur to give it detailed and complete look.  This is very similar to most masks, as most cultures used the same materials to design their masks. However, it was the decorations that differed. For example, a lot of African tribes carved symbols into their masks and had specific images on them but lacked the dramatic use of feathers and other ‘over the top’ additions like masks from the Commedia dell’Arte.

7.  In every form of theatre involving masks there is a special, almost magically relationship between the masked characters and the audience. The audience never see the actor without a mask on and they never see the actors put their masks on. This is because there is an illusion created when an actor is wearing the mask. The actor becomes the mask and adopts all its characteristics. This is made so believable because the actors are only seen wearing their masks making the audience believe this as who they are. This is why if the actors put the masks on in front of the audience the illusion or ‘spell’ would be broken and the integrity and believability of the show would be compromised.