November 12-14, 2004
The essence of mask is transformation. Behind the mask, we suspend disbelief, become bold, see uncertainties as creative possibilities, experience leaps of faith that allow long-held stories to be voiced. In the shelter of the mask our identities expand; stirring performances of our tales emerge; we reach personal depths that expand our capacity for expression. Whether realistic, extreme, or minimalistic, a mask marks a separation from the ordinary world. We’re all subject to its hypnotic power, its stylized beauty, and its otherworldliness. Since ancient times, masks have mirrored, taught, and given authenticity to cultural beliefs, values, religion, and ritual. Masking is a universal language that communicates beyond cultures and time.
Suzanne Benton will share some of her masks and her stories of how masks connect us with people all over the world and present a sampling from her repertoire of Mask and Ritual Tales. We’ll create masks with a mix of papers, flowers, wire, twine, bark, fabric, string, wood, thin metal, feathers, felt markers, and glitter using scissors, staplers, glues and more. By experiencing the physical and spiritual dimensions of these masks, we also explore body movement and improvisation as we narrate the form of a story that has relevance to our own lives. The masks have a way of centering a person and giving a sense of protection in a way that encourages giving and receiving from the center. With these masks, a thousand faces emerge and grow as people experience a selfunfolding. The role of the mask may be larger than you have imagined. The non-verbal presence of the mystical embodiments of spirit reveal a depth that stretches beyond anything we have yet imagined. There will be a $20 materials fee.
Suzanne Benton, sculptor, mask performer, and printmaker, has shared her many-faceted art for over 30 years in 29 countries. As a transculturalist and feminist pioneer, her venues stretch from New York City’s art world to villages in remote parts of Africa, India, and Nepal and to philosophy and education portals from Calcutta to Cambridge. A former Fulbright Scholar in India, she has also received many grants and artist residencies, including a Thanks be to Grandmother Winifred Grant, which took her to East Africa. She’s exhibited in over 50 solo shows and led over 100 workshops and classes in contemporary masking. Her work is represented in museum and private collections worldwide. Author of The Art of Welded Sculpture and numerous articles and is the founder, artistic, and managing director of Positive Power where she’s developed forums and exhibitions highlighting women artists.