Deborah Bell is a professor of costume design at the University of North Carolina at Greensboro, where she has taught for three decades.

“fascinating essays that examine masquerade from many different perspectives...recommended”—Choice.

• Table of ContentsAchnowledgmentsIntroduction (Deborah Bell)Section I. The Convergence of Historic ­Non-Western and Contemporary MasqueradeSlavery, Violence and Power in African Masquerades (John Wallace Nunley)Playing Mas or Mass Playing: Contemporary Carnivals and Street Parades (Loyce L. Arthur)Colliding Cultures in the Carnival of Cuba and the Philippines (Laura Crow)Sublime Images: Masked Performances and the Aesthetics of Belonging in Malawi (Peter Probst)Fiestas, Dances and Masks of Mexico: Community Masquerade and Ritual Art (Marta Turok) Section II. Public Masquerade Mirroring Communities in Transition Masquerade, Pride, Drag, Love and Marriage (Hilary Baxter)Halloween Masquerade: Contemporary Trends and Hidden Meanings (Kara McLeod)Dragon Con as Hip Spiritual Destination for Geeks and Pop Culture Lovers (Deborah Bell)Section III. Performance Masquerade as Social and Political Commentary“Exotick and Irrational”: Opera, Masquerades and Carnival (Richard Fallis)Open Secrecy: ­Self-Presentation by Queer Male Musicians (Vincent Stephens)Behind the Mask: Guerrilla Girls and Others Exposing Unfair Practices and Voicing Protest (Mary Robinson)The Fifth of November: Masquerade and Social Tensions (Derrick Vanmeter)Section VI. Visual Art’s Influence on Masquerade: Graphic and Performance Art, Branding, Photography and Comic BooksPop Art to Pop Masquerade—Warhol to Lady Gaga: When Does the Mask Become the Reality? (Marianne Custer and Johann Stegmeir)Masquerades of Alexander McQueen and John Galliano (Deborah Bell) The Drama of Identity: Masking and Evolving Notions of Self in Contemporary Photography (M. Kathryn Shields)The (Super) Hero’s Masquerade (Ron Naversen)Section V. The Universality of Digital Masquerade for a Global AudienceAnimators as Professional Masqueraders: Thoughts on Pixar (Heather L. Holian)Post-Feminist Radical: Jenna Marbles and the Digital Masquerade (Ted Gournelos)Cosplay: Masquerade for the Millennials (Laura Crow)Appendix: Masquerade in Selected Plays, Broadway Musicals and OperasAbout the ContributorsIndex

Deborah Bell is a professor of costume design at the University of North Carolina at Greensboro, where she has taught for three decades.

“fascinating essays that examine masquerade from many different perspectives...recommended”—Choice.

• Table of ContentsAchnowledgmentsIntroduction (Deborah Bell)Section I. The Convergence of Historic ­Non-Western and Contemporary MasqueradeSlavery, Violence and Power in African Masquerades (John Wallace Nunley)Playing Mas or Mass Playing: Contemporary Carnivals and Street Parades (Loyce L. Arthur)Colliding Cultures in the Carnival of Cuba and the Philippines (Laura Crow)Sublime Images: Masked Performances and the Aesthetics of Belonging in Malawi (Peter Probst)Fiestas, Dances and Masks of Mexico: Community Masquerade and Ritual Art (Marta Turok) Section II. Public Masquerade Mirroring Communities in Transition Masquerade, Pride, Drag, Love and Marriage (Hilary Baxter)Halloween Masquerade: Contemporary Trends and Hidden Meanings (Kara McLeod)Dragon Con as Hip Spiritual Destination for Geeks and Pop Culture Lovers (Deborah Bell)Section III. Performance Masquerade as Social and Political Commentary“Exotick and Irrational”: Opera, Masquerades and Carnival (Richard Fallis)Open Secrecy: ­Self-Presentation by Queer Male Musicians (Vincent Stephens)Behind the Mask: Guerrilla Girls and Others Exposing Unfair Practices and Voicing Protest (Mary Robinson)The Fifth of November: Masquerade and Social Tensions (Derrick Vanmeter)Section VI. Visual Art’s Influence on Masquerade: Graphic and Performance Art, Branding, Photography and Comic BooksPop Art to Pop Masquerade—Warhol to Lady Gaga: When Does the Mask Become the Reality? (Marianne Custer and Johann Stegmeir)Masquerades of Alexander McQueen and John Galliano (Deborah Bell) The Drama of Identity: Masking and Evolving Notions of Self in Contemporary Photography (M. Kathryn Shields)The (Super) Hero’s Masquerade (Ron Naversen)Section V. The Universality of Digital Masquerade for a Global AudienceAnimators as Professional Masqueraders: Thoughts on Pixar (Heather L. Holian)Post-Feminist Radical: Jenna Marbles and the Digital Masquerade (Ted Gournelos)Cosplay: Masquerade for the Millennials (Laura Crow)Appendix: Masquerade in Selected Plays, Broadway Musicals and OperasAbout the ContributorsIndex

Deborah Bell is a professor of costume design at the University of North Carolina at Greensboro, where she has taught for three decades.

“fascinating essays that examine masquerade from many different perspectives...recommended”—Choice.

• Table of ContentsAchnowledgmentsIntroduction (Deborah Bell)Section I. The Convergence of Historic ­Non-Western and Contemporary MasqueradeSlavery, Violence and Power in African Masquerades (John Wallace Nunley)Playing Mas or Mass Playing: Contemporary Carnivals and Street Parades (Loyce L. Arthur)Colliding Cultures in the Carnival of Cuba and the Philippines (Laura Crow)Sublime Images: Masked Performances and the Aesthetics of Belonging in Malawi (Peter Probst)Fiestas, Dances and Masks of Mexico: Community Masquerade and Ritual Art (Marta Turok) Section II. Public Masquerade Mirroring Communities in Transition Masquerade, Pride, Drag, Love and Marriage (Hilary Baxter)Halloween Masquerade: Contemporary Trends and Hidden Meanings (Kara McLeod)Dragon Con as Hip Spiritual Destination for Geeks and Pop Culture Lovers (Deborah Bell)Section III. Performance Masquerade as Social and Political Commentary“Exotick and Irrational”: Opera, Masquerades and Carnival (Richard Fallis)Open Secrecy: ­Self-Presentation by Queer Male Musicians (Vincent Stephens)Behind the Mask: Guerrilla Girls and Others Exposing Unfair Practices and Voicing Protest (Mary Robinson)The Fifth of November: Masquerade and Social Tensions (Derrick Vanmeter)Section VI. Visual Art’s Influence on Masquerade: Graphic and Performance Art, Branding, Photography and Comic BooksPop Art to Pop Masquerade—Warhol to Lady Gaga: When Does the Mask Become the Reality? (Marianne Custer and Johann Stegmeir)Masquerades of Alexander McQueen and John Galliano (Deborah Bell) The Drama of Identity: Masking and Evolving Notions of Self in Contemporary Photography (M. Kathryn Shields)The (Super) Hero’s Masquerade (Ron Naversen)Section V. The Universality of Digital Masquerade for a Global AudienceAnimators as Professional Masqueraders: Thoughts on Pixar (Heather L. Holian)Post-Feminist Radical: Jenna Marbles and the Digital Masquerade (Ted Gournelos)Cosplay: Masquerade for the Millennials (Laura Crow)Appendix: Masquerade in Selected Plays, Broadway Musicals and OperasAbout the ContributorsIndex