MASKS!

Rachel Mihlstin

I was in the Tampa airport in early March 2020, one of my teammates was wearing a medical-grade mask. My softball team and I were leaving Florida in fear of a travel ban that could leave us with difficulty returning home.  The threat of COVID has impacted our short-sighted view but at the time we had only thought it would last a few months. My teammate was asked why she was wearing a mask as it had not been mandated or even encouraged to wear one in public yet. She reminded us she has very bad asthma and contracting COVID could put her in critical condition. She was one of few who was wearing a mask at the time in the very large airport in a highly-populated area. I think in my head wearing a mask was frightening, it was an item associated with operating rooms and experience labs, not our everyday lives.  We had been in Florida for roughly four days during spring break before we were told to go home, and we never wore masks. Looking back at that experience it is crazy to see how everything changed so quickly and how our lives would change for at least a year.

After a month or so, I was home on Long Island with my family, and masks were now being enforced in public.  I rarely had a reason to leave my home but when I did, I wore a mask. I remember visiting my grandparents who were excited to see me since I had been away at college for several months.  I wore a mask and so did both of my grandparents during the visit. However, my grandfather who was already hard of hearing struggled, even more, to participate in conversation as he could no longer lip-read since my mouth was covered. In fact, sometimes he did not even know I was talking let alone what I was saying. This barrier was difficult for both of my grandparents as they feared getting sick and how even their lives would change.  As time went on and I continued to stay at home, only I would wear a mask when I went over my grandparents since both sides were essentially always in quarantine. 

As the summer came around and COVID case numbers decreased more business and activities could open. My summer job was as an arts and crafts teacher at a summer camp.  Until then, I really had no reason to leave my house or enter the public sphere. All the employees had to wear masks at the camp while the children did not. Personally, I dreaded wearing a mask in the heat, knowing that July and August would bring 90-degree days with high humanity.  But I could not imagine not wearing a mask, not only was it heavily enforced by my superiors but the risk of contracting the virus was still very high and I did not want to put any of my family or friends in danger. 

My mother had sewn some cloth masks for me that would be good for when the mask gets dirty from sweat and dirt during the camp day and could easily be reused after a wash.  My mom had picked out a fabric with fun patterns to match my creative position. Many other camp counselors and specialists liked wearing masks with fun designs so the campers would like them and have them get used to people wearing masks. We all learned quickly that while many kids understood there was a pandemic, many of the younger could not understand why we had to wear the masks. They would often say cute sayings like “we want to see you smile.” But that would lead me or another employee to explain why the mask needed to be worn, which often was along the lines of “to protect everyone.”

After the summer, months had gone by of people making predictions of when we would not have to wear masks anymore. I was back at college, happy to be around friends and playing sports I love. To participate in the competition, all athletes must wear a mask during practice.  However, my two months in the heat and wearing a mask did not prepare me for heavy breathing while doing sprints. The first month of the fall semester I had just been using the one-use medical masks but during the fall season of softball, I realized I needed not only a more sustainable option but a more comfortable one as well. 

A friend had recommended I looked at athletic wear retailers to see if they were selling masks and another teammate suggested Athleta. I was familiar with the brand as they are known for selling athletic clothing to women, encouraging women to pursue strong bodies instead of skinny ones.  They were selling packages of masks and so I bought a set of five, all neutral colors. However, the quality was great, and I felt like I could breathe better at practice along with less skin irritation. I specifically liked one with a light blue wash as it matched our uniforms, emphasizing school spirit.  I have used those masks mostly until the real reason came along in late February when I needed to order more because I had more practice and needed to wash the masks more often.

Rachel Mihlstin

  In movies and pop culture, superheroes are often wearing the mask, but the fictional public has faith that the masked hero is there to protect them. However, in the real world, the public does not like anonymous figures. Masks are mostly known for covering up one’s face so that they can commit a crime, in other words, it is not a positive thing.  Marks are often dark and mysterious even if they do no harm.  On the contrary, some people who are activists that wear masks. When looking at several different activists and activist groups that wear masks, the main purposes of covering their faces are protecting their identity, making a statement with the mask and unification.  For example, the digital hacker group Anonymous are represented by the Guy Fawkes mask and that specific mask has become a symbol of activism. Other modern examples can be seen in feminist movements around the world such as the Guerilla Girls, known for wearing masks that match their name’s sake and Pussy Riots who sport balaclava masks. The last example of masks used by activist groups is the Zapatistas who stand for the face and voices of the unknown indigenous people of Mexico. Masks are used by activists for three main purposes by groups to further push their agenda despite the contrary association of anonymity with wearing a mask. 

Guy Fawkes was an Englishmen who played a major role in the Gunpowder plot, an attempt to blow up the Westminster Palace in 1605. Fawkes was recruited to help pull off the attack by Robert Catesby and his band of men. Fawkes was caught before the explosion went off and Fawkes was tortured to give the names of his conspirators (Guy Fawkes).  British graphic designer, David Lloyd, accentuated and stylized Guy Fawkes’ facial features to create the mask worn by the protagonist in the comic-turned movie V for Vendetta. The film concludes with a large crowd, unanimously donning the Fawkes mask. Since then, the mask has been used widely used to cloak the identity of protestors. Some of the larger protests include when the mask was worn by the masses was at a protest against Scientology and the Occupy Wall Street protest in New York (Waites).

Another use of the Guy Fawkes mask is to symbolize the “hacktivist” group, Anonymous.  The global group is decentralized but made up of hackers to cause digital distress to those who have abused their power. For example, after the murder of George Floyd, the group is credited with flooding the Minneapolis Police Department’s website and database, rendering it unusable (Tidy, Molloy). They have done similar actions like denouncing the Ku Klux Klan and releasing personal information about members.  Another example of their work is hacking the Church of Scientology’s website. Since Anonymous, not a physical group, they only have a general goal and that is to emphasize freedom of speech, fight censorship, and other forms of government control.  The summer of 2020 saw the group’s most recent activity starting with the murder of George Floyd and then some activity threatening Donald Trump (ABC NEWS).  The anonymity of the group and its purpose of activism is an example of how lack of identity can lead to an amplified voice demanding justice as the mask not only allows those to voice their opinion but also unify as a mass. 

The artist, Banksy, is another example of how anonymity plays into activism as his identity is unknown while his art brings about controversial topics. He is a graffiti artist, an art form associated with delinquency, known for creating satirical art commenting on social and political issues. Graffiti art is also often associated with anonymity because the artists often cover their faces with a face mask to prevent them from inhaling the paint fumes and aerosol. Graffiti can be seen as one of the more popular art mediums that is used for activism.  In 2010, Time Magazine included Banksy as one of the top 100 most influential people (Ellsworth-Jones) Banksy’s persona combines the mystery and fear around anonymity with the idea of a hero, as people are not afraid of his work, they look forward to finding it on the streets of England.  People appreciate his work as it often challenged corrupt institutions. His growing success has amplified the voices of the people and their frustrations.

Banksy may be hiding his identity to protect himself from facing vandalism charges or from the public eye, but his anonymity is also hurting his art simultaneously.  Part of the Banksy ideology is against consumerism and capitalism, so it is rare for him to sell his art and merchandise with his work on it.  His art can be found on alleys and building walls in England. However, his popularity has led to many others selling merchandise with his work on it.  Banksy has taken legal action by suing those attempting to make a profit but in a turn of events, lost. The court ruled that due to his lack of identity the right of his work “are much harder to meet when they concern modern and contemporary anonymous works of art for which sufficient information that might be used to ascribe to them a chronological, cultural, or institutional context is lacking.” (Banksy Trademark) Essentially, there is not enough information known about Banksy to complete his formal, government identity.

Despite Banksy losing this case, I believe there is room for Banksy to start a new activism campaign. He could make art about the idea of identity and once again challenge the institution, in this case, copyright laws, for attempting to discriminate by conforming identity to formal and privileged aspects, such as address or background. Immigrants, homeless people, or refugees might not have all the necessary information the government requires but is that what will stop them from receiving copyright protection? There is more to one’s identity than those formal aspects. People without those formal details may feel ashamed or threatened that they do not have those credentials. Those formalities also address major societal issues like homelessness, poverty, and discrimination.  Banksy is a big enough artist to make a statement like this and claiming that his lack of identity prevents him from copyright protection seems possible to change in the future. 

Another example of an activist group using masks to protect their identity while unifying and making a socio-political statement is the Zapatistas. The group protests the inclusion of Mexico in the North American Free Trade Agreement, the NAFTA. The Zapatista Army of National Liberation is more generally against capitalism and democracy as they feel countries like the United States have their government and economy too closely intertwined without acknowledging it. The United States preaches and tries to spread the free market and total freedom ideology but in fact, the government is heavily involved in the regulation of the economy.  The indigenous people of Mexico have been greatly affected by these regulations like NAFTA.  The Zapatista Army and protestors wear masks to protect their identity but also represent the “ones without faces” or their indigenous ancestors as they were treated as insignificant to global powers like the United States.  There were major student protests after the signing of NAFTA in 1994.  Zapatista soldiers occupied 7 Mexican cities. Both parties wore balaclavas or red kerchiefs to be noticed as they felt their facial features caused them to be unnoticed (Wearing a Mask).

Feminist groups have also used masks to protect their identity while making their statement.  The Guerilla Girls formed in 1985 to protest the lack of representation of female artists in the art world, specifically their representation in museums and galleries as well as international recognition in institutional honors (OUR STORY). The group covers their faces with gorilla masks and uses them to symbolize the group. However, they say the main reason they wear the mask is to keep the focus on the issues they are bringing awareness to (Tate).  This is a common theme with all the activist groups mentioned so far, they are not only protecting their livelihood from threats but by not having a specific identity attached to their cause, the cause is accentuated.    

Another feminist example of an activist using masks is Pussy Riot, the Russian punk group that demands separation of church and state. They noticed the Russian Orthodox Church carries an anti-woman and anti-LGBT attitude in their practices (Myzelev 2). Free speech is suppressed and there are unusually cruel punishments for women like labor camps. The idea of free speech is considered modern and western while Russia tries to hold on to a traditional way of life. The most notable protest by Pussy Riot was the group performing their punk songs on the stage of the highest Orthodox church in Moscow.  They wear brightly colored dresses and tights but also wear bright balaclavas to appear feminine but also rebellious.  They were only tried of hooliganism which is an example of Russia not acknowledging women as equal to men, Pussy Riot has a serious message that directly criticizes the two largest institutions of Russia and their trial was not treated as such (7). The use of masks is once again used to protect the identity of those in the group but also to have a rebellious appearance to match their seemingly rebellious agenda. 

Even in today’s catastrophic event, the COVID-19 pandemic, most of the peoples’ faces are covered in a protective shield to slow the spread of the virus. People have taken the liberty of expressing their political and social views on the cloth mask, for example having a Black Lives Matter mask or a gender equality symbol. These masks have been worn on people often covered by the media: athletes, politicians, and celebrities along with the public (Masked Not Muzzled).  This is another example of the use of masks playing a role in activism. While people’s mouths may be covered, they are still expressing their views and making their voices known. I believe expressing their views in such a forward way will encourage others to think about their views. Also, constantly seeing a message on people’s faces, one of the most notable features of a person, will spread awareness quicker and let people know that others have a concern that they want to be shared.

The relationship between masks and activism has not been entirely for the same purpose but there is a thread between the two. Anonymity helps assist people to express their views without fear of repercussions. Most people assume that someone wearing a mask has bad intentions but often, as we have seen with Banksy and the Guy Fawkes masks, people are just trying to spread awareness of an issue or criticize corrupt institutions.  The mask can also protect minority groups like the Zapatistas, Guerilla Girls and Pussy Riot so that they can be noticed by the institutions that overlook them.  They have endless possibilities as we have seen with the Banksy court case and the new use of medical masks to spread awareness of current socio-political issues.  In all cases, the masks can unify groups representing a collective identity to emphasize their respective cause. 

---

Works Cited

ABC News, ABC News Network, abcnews.go.com/US/worldwide-hacker-group-anonymous/story?id=37761302.

“Banksy Trademark ‘at Risk’ after Street Artist Loses Legal Battle.” The Guardian, Guardian News and Media, 17 Sept. 2020, www.theguardian.com/artanddesign/2020/sep/17/banksy-trademark-risk-street-artist-loses-legal-battle-flower-thrower-graffiti#:~:text=The%20European%20Union%20Intellectual%20Property,because%20his%20identity%20remained%20hidden.

Ellsworth-Jones, Will. “The Story Behind Banksy.” Smithsonian.com, Smithsonian Institution, 1 Feb. 2013, www.smithsonianmag.com/arts-culture/the-story-behind-banksy-4310304/.

“Guy Fawkes.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/biography/Guy-Fawkes.

“Masked Not Muzzled – the Art of the Political Mask.” The Guardian, Guardian News and Media, 15 July 2020, www.theguardian.com/world/gallery/2020/jul/15/masked-not-muzzled-the-art-of-the-political-mask.

Myzelev, Alla. “Pussy Riot: Representing Russian Activism between East and West .” Comparative Media Arts Journal, 2021.

“OUR STORY.” Guerrilla Girls, www.guerrillagirls.com/about.

Tate. “Guerrilla Girls.” Tate, 1 Jan. 1989, www.tate.org.uk/art/artists/guerrilla-girls-6858.

Tidy, David Molloy & Joe. “George Floyd: Anonymous Hackers Re-Emerge amid US Unrest.” BBC News, BBC, 1 June 2020, www.bbc.com/news/technology-52879000.

Waites, Rosie. “V For Vendetta Masks: Who’s behind Them?” BBC News, BBC, 20 Oct. 2011, www.bbc.com/news/magazine-15359735.

“Wearing a Mask Is a Way the Zapatistas Invite Everyone into the Struggle.” Netpol, 11 Nov. 2015, netpol.org/2015/11/02/ezln-masks/.

Grace Tinklepaugh 
Dr. Alla Myzelev 
ARTH 300: Fashion, Art, and Politics 
Spring 2021

Noh theatre is a form of Japanese drama that has been around since the early 1300s. It is well-known for its glamorous and intricate costumes and masks.

Noh masks are often used to represent the supernatural or animals in theatre. Noh theatre is a drama formulated around song and dance. This type of Japanese drama is well known for the elaborate costume, makeup, wings, and masks which add to the elements of the performance and the attributes of the characters. Noh Theatre is known for its extravagant music, dance and drama and themes of dreams, supernatural, and spirits. The masks are made of wood and hand painted using a style that date back thousands of years. These masks are often hundreds of years old and passed down to others. There are many different types of Noh masks that are used for specific plays and performances. The masks are used to amplify the drama of Noh theatre, and often represent spiritual beings and animals. The masks are hand painted and known for being gorgeous and detailed. Noh theatre and masks influenced future Japanese traditions in the arts.

In Japan masks were very popular and common both in the arts and society. From surgical masks to fashion to art, masks have been incorporated in many aspects of Japanese life. Deriving from historic religious rituals, masks have been a major part of Japanese culture since the beginning. In Japanese theatre there are multiple types of Noh masks. In the past, there used to be up to 60 different types of Noh masks used in theatre. Currently now, there are over 200 types of Japanese Noh masks used in theatre, all stemming from the traditional Noh masks of the early 1300s. The masks represent animals, specific characters, non-human characters, and the supernatural.

Noh theatre masks are made of a lightweight wood, for actors to wear for long periods of time. They are decorated with natural pigment using seashells and glue, along with paint. The masks are made to be worn during long periods of time and can handle a range of actions that the actor might be performing.

Noh theatre is a very popular form of Japanese theatre representing dance, drama, glamorous costumes, and elaborate makeup and masks. This form of theatre is an all-male performance that was founded in the early 1300s. This classical theatre is well known for its extravagant costume and masks, that are essential to the characters identity and plot of the theatre.

Noh theatre inspired many traditions and trends later on in Japanese culture and society. This genre of theatre is often very dramatic and extravagant, in both its content and costume. The costumes are extremely luxurious and typically very vibrant with color and patterns. It is very common in Noh costume and masks to have bright vibrant colors. The colors often have a deeper meaning in this style of theatre. For positive traits and characters, the costume and masks include the colors: red and purple. Whereas the negative and villainous characters are represented by the colors: blue, black, and green.

One of the most popular and notable Noh masks is called the Hannya. The Hannya represents an evil female demon that has horns, sharp teeth, and metallic eyes. The mask represents jealousy and traditional bridal headwear. In Noh theatre all of the actors are male, which is why the masks are often used to portray female characters. In Japanese theatre, the main character often wears the Noh mask, along with the accompanying character (usually playing as a female character). Not only do Noh masks represent a specific character, they also represent emotions. The emotions often represented on Noh masks are sadness, anger, and happiness. Another popular character depicted by Noh masks is Oni. Oni is a red-faced demon and was worn by parents to remind their children of the dangers of demons. Children would throw beans at this mask to cast away the demon. Other notable characters depicted by specific masks were Tengu (a birdman who scared away bad spirits), Shinto (a magical shape shifting fox), and Hyottoko (a clown).

Masks are an essential part of Noh theatre. The masks play an important role in the theatre, the main character and accompanying character(s) almost always wear masks. However, the narrator in Noh theatre never wears a mask. The masks have set roles in Noh theatre and only specific characters can wear them. There are many different types of masks in Noh theatre categorized in a few basic ways. Some of the categories used to organize Noh masks are: otoko (human male), jo (elderly), onna (woman), uba (old woman), chigo (children), jinki (the supernatural), kijin (demons), and animals. Not only were masks used in plays, they were often depicted in Japanese artwork as well. Japanese artist frequently liked to paint and depict Noh masks on Japanese prints. Noh themes, scenes, and masks were popularly portrayed on Japanese art prints during the late 18^th and 19^th century. Noh masks have been appreciated and admired continuously since the early 14^th century into the present. Japanese prints depicting Noh masks are still being sold and created in the present. Masks have been extremely influential in Japanese tradition, culture, and art. The masks are well respected and appreciated as an art form in multiple ways. Noh masks have also inspired makeup and art among common people. The art form has been extremely influential in society, even among common people. The continuous popularity shows how rich in culture and tradition Japanese art is. Noh was not exclusively for any group of people and was often very popular among commoners. Noh theatre is often described as the “people’s dramatic art”.

Noh theatre has changed a lot throughout history, but the main principles and characteristics of this art form remain and are still appreciated to this day. Noh masks are an essential part of Japanese theatre and culture. These intricate and gorgeous masks represent tradition, culture, art, and history. Noh drama and theatre masks represent a variety of characters that were not only important in theatre, but in traditional stories shared and passed down within families. Noh masks were influential to later artistic developments in Japan, like Japanese art prints.

Japanese masks are still purchased and appreciated to this day. These masks are still very popular in Japanese culture as they are still remembered through childhood tales, theatre, and art.

Works Cited

“Back Matter.” Asian Theatre Journal, vol. 20, no. 1, 2003. JSTOR, www.jstor.org/stable/1124065. Accessed 7 Apr. 2021.

“Japanese Masks in Noh Theater and Kabuki.” Artelino, www.artelino.com/articles/japanese-masks.asp. Accessed 14 Apr. 2021.

“Masks.” Traditional Kyoto, traditionalkyoto.com/culture/masks/. Accessed 14 Apr. 2021.

“Noh Masks.” Kabuki Mask, kabukimask.com/. Accessed 14 Apr. 2021.

“Noh Theatre.” Japan-Guide.com, www.japan-guide.com/e/e2091.html. Accessed 28 Apr. 2021.

Pronko, Leonard C. “Kabuki Today and Tomorrow.” Comparative Drama, vol. 6, no. 2, 1972, pp. 103–114. JSTOR, www.jstor.org/stable/41152579. Accessed 7 Apr. 2021.

Scott, Adolphe Clarence. The Kabuki Theatre of Japan. E-book.

Stewart, Elizabeth. “Unmasking the Value of a Traditional Japanese Art Form.” Elizabeth Appraisals, elizabethappraisals.com/1960s-kabuki-masks/. Accessed 14 Apr. 2021.

Masks are a part of our daily lives and they are something that we can’t seem to stray away from, just yet. Starting at the beginning of 2020, the whole globe was struck with the Coronavirus pandemic that changed everything for every individual. It was a time of adaptation and we had to band together to do whatever it is for us to stay healthy and protect the people surrounding us, familiar and unfamiliar. Masks became a mandated matter that is supposed to be worn on the streets and when surrounded by other civilians in enclosed buildings. At the beginning of this pandemic, I first heard about masks through mass media. Broadcasted on news channels, social media platforms, and word of mouth, masks started to become the main conversation I had with anyone I conversed with during this time. Specifically, if you didn’t hear about masks during this time some might say you may just be living under a rock. Now, when it came to what I thought about masks during the beginning months of February/March, I honestly was not too thrilled about it as it was something I had to begin to get used to. I would constantly step out of my car and forget them halfway into where I was walking to and had to run back to retrieve them. Let’s just say it definitely took me some time to get used to. However, I realized how important it was to wear them to ensure safety for all.

 I began to wear masks right at the beginning of this pandemic, as my parents stocked up on all the necessary supplies; we had copious amounts of those blue medical masks (Fig. 1) and the N95 masks lying around the house just in case we ever ran out. I vividly remember walking into a supermarket at the beginning and being in total shock walking in seeing some people with masks and some people without. I felt so out of place as I wasn’t sure if I was the odd one out or if the people who weren’t wearing them just have not heard the news yet. However, I knew that during this time I was being a proactive citizen and was doing what was best for myself and others. Also during this time what persuaded me even further for why I wore masks was the health of my intermediate family. During this time, my grandparents had moved into my 4 person home as they moved out of their house. For them, my father began to build an extension off of our house to create a one-bedroom, one-bath, apartment. But, because of the rise of the pandemic, this project had slowed down and they lived in our backroom for a longer period of time than expected. Because of this, all 6 of us were in a smaller confined space and I was very nervous to bring this virus into my household and spread the disease to them. They are both roughly eighty years old and have been through many health complications, this virus was the last thing I wanted them to come in contact with. Likewise, both my parents have been through many health complications including a variety of cancers and kidney failures where they have been through invasive surgeries. I was in an immunocompromised household and I never wanted to be the one to mess that up. I had to wear a mask no matter where I went to ensure the ones I held closest to my heart were healthy.

Parting away from the sadness of this virus, the use of masks can have a positive outlook as it can add some spice to your everyday fashion. For the longest time, the first masks I wore were the blue medical masks as I felt they were the safest. However, as time went on, I noticed they were not sustainable and were constantly seen on the ground in parking lots or within garbages. Due to this, I switched over to reusable masks that could be washed. The first masks I bought, and the same masks I wear today were from TJ Maxx. These masks came in a pack of three different colors, pastel blue, purple, and pink. Furthermore, I loved seeing the creativity shine through individuals as I watched them promote their own creation of masks. Firstly, I remember my mom coming home with a bunch from a friend of hers who had created their own with Grateful Dead, floral (Fig. 2), and tie-dye patterns. More personal to me, a friend of mine’s sisters started her own business creating masks. Watching it be promoted on both of their social media platforms, she provided essential workers with these masks as a token of appreciation for all that they have done. Although I am not necessarily as close with my friend as I used to be, I still see her sister’s progress on her Instagram as she continues to make masks for all. In the end, masks are something that we all had to get adapted to, but they have simply become part of our everyday lives and fashion choices. For as long as we have to continue, I will wear my same pink, blue, and purple masks constantly changing which one I want for the day according to what I am wearing.

• 

• 

• 

Masks are seen as a form of identity of an individual as they are there to conceal a person’s face and shoulders. Since the beginning of Ancient times, face and head coverings have had widespread use through all cultures including those of the Romans and Greeks. Today, the use of these coverings are still used but for slightly different purposes as we see them commonly used for martial, religious, or health purposes. Although, during Ancient times, the use of these face and head coverings had a tremendous amount of different purposes including the similar religious and marital aspects we see other uses such as purity, communication, marriage, and status. While the face and head coverings have been around for centuries, birthed during Ancient times, they have been constantly evolving in both Roman and Greek cultures. Within these cultures, there are a variety of different types of coverings that withhold different purposes that, although the purposes may differ now, carry substantial importance in our contemporary era and to an individual’s personal identity.

“Masks remain something of an enigma”

Donald Pollock

Head and face-covering practices have a lot of common misconceptions that date back to ancient times. Commonly practiced by Hellenic women, veils were also used during this time by men when in the presence of the Gods. Dating back to 750 to 30 BCE, the Himation (Fig.1) in Greek traditions, was a mantle primarily used by men and women to act as a shawl or head covering. The himation is something that can be seen on historic Greek vases ( Fig.2) where we see this rectangular cloak wrapped around or thrown over the left shoulders of Ancient Greeks. The himation typically swings over the left shoulders of the wearer where it passes under the right arm and a bulk of the fabric is met around the back. Made out of wool fabric, the himation was used for a variety of purposes. Worn over the chiton, a long tunic, until the middle of the fifth century BCE, himations made their way to be worn alone. They were typically worn and seen as an important part of their nonverbal communication; a way to express themselves without verbally using words to convey a point. The himation often showed a sign of elite status in which it was often worn by Roman and Greek aristocrats and in women it typically was used as a veil when in contact with strangers.

“As the busybody penetrates through the door of the house he ‘unveils’ its occupants to his unwanted and shaming gaze and defiles the sanctity of privacy that a house usually offers”

Llewellyn-Jones

Oftentimes, the veil during Ancient Greek times was simply just the cloak or mantle being worn and often correlated to a women’s living space. This correlation is evident as both a home and veil are seen to protect the privacy of the individual; “As the busybody penetrates through the door of the house he ‘unveils’ its occupants to his unwanted and shaming gaze and defiles the sanctity of privacy that a house usually offers”(Llewellyn-Jones 255). This analogy brings into play the ultimate desire for privacy that was trying to be achieved through these face coverings. The use of the face coverings was also primarily used to prevent what is called miasma. Miasma is the state of ritual impurity that can be described as “the lingering aura of uncleanliness” in regards to a person’s contact with the Gods. As seen in Llewellyn-Jones’ writing of Aphrodite’s Tortoise: The Veiled Woman of Ancient Greece and as a feature of Hellenism, miasma comes into play with veils as it acts as a barrier to contain the potential hazards that the female body and female sexuality are capable of. Acting as a pollutant, the use of the veil is there to ultimately help women with their lack of control over their boundaries. Men were seen as self-aware and understood their limits where a woman’s body “refused to conform or adhere to the rules of containment because it was perceived as porous and hence destructive”(Llewellyn-Jones 260). Yet, as written in Plutarch’s Saying of Spartans, it raises the question of how often a woman had to wear their veils. Writing, “When someone inquired why they took their girls into public places unveiled, but their married women veiled.” He then responds, “Because the girls have to find husbands, and the married women have to keep to those who have them!” This makes it interesting as it seems that a woman is then an object to the man where she is their property upon marriage and must be protected while a woman who is searching must expose her privacy.

CHARILLUS ​197 2 “When someone inquired why they took their girls into public places unveiled, but their married women veiled, he said, “Because the girls have to find husbands, and the married women have to keep to those who have them!” -Plutarch, Saying of Spartans

• 

A mask, or in this case a head covering, contains a lot of identity of an individual as they are seen as a symbol of representation. “The mask works by concealing or modifying those signs of identity which conventionally display the actor, and by representing new values that, represent the transformed person or an entirely new identity”(Pollock 585). In our contemporary society, masks are continuously being used for a wide range of martial and religious purposes. They are used in a majority of the religions globally including Catholicism, Christianity, Islam, and Judaism. However, there is a difference in how they used to be treated from how they are treated now. Rather than seeing a covering as a form of social status or a symbol of a woman’s purity, they are typically seen as a sign of modesty and respect in accordance to God’s will. Furthermore, no longer is the face-covering in regards to marriage seen as important as they once were during Ancient times. Today, many brides have the opportunity to choose themselves on whether or not a veil face covering is something they choose to partake in. It no longer holds the same purposes and importance that it once did before. But again, that does not mean they are in complete extinction from society. In Roman Catholic and Eastern Orthodox churches, respectively, we see these coverings of veils (Fig. 6) being worn by nuns and religious sisters and a cylindrical hat and veil known as kamilavka and epanokamelavkion (Fig. 7) worn by the monks within monasteries. In regards to head coverings as a sense of personal identity, today, we see that they allow for individuals to have their own freedom of choice and expression. It is no longer held to a person on whether or not they want to wear one but if they feel they need one to feel at peace with themselves. In a New York Times article by Hanna Ingber, many Muslim women were interviewed in which some exclaimed no need for a veil because “God exists on the inside” while others felt it provided them confidence, peace, and a “material expression of solidarity”.

For centuries, the umbrella of head coverings has been used widely in Ancient Roman and Greek times for an array of purposes. Today, although similar purposes, these coverings have a more lenient use as there is more of a choice to the individual in whether they choose to participate in wearing them. From the beginning of times, in Ancient Roman and Greek cultures, we see the use of these coverings for nonverbal communication, a sense of purity of a woman from her husband, a man’s social status, and as a form of privacy and protection of a woman’s body. In contemporary times, we see these specific purposes declining but more of a sense of modesty and dedication to one’s faith. In the end, the use of these facial coverings has provided individuals with a sense of personal identity and will continue to be used upon a person’s personal preference.

Bibliography

Ingber, Hanna. “Muslim Women on the Veil.” The New York Times, The New York Times, 27 May 2015, www.nytimes.com/2015/05/28/world/muslim-women-on-the-veil.html. 

Llewellyn-Jones, Lloyd. “House and Veil in Ancient Greece.” British School at Athens Studies, vol. 15, 2007, pp. 251–258. JSTOR, www.jstor.org/stable/40960594. Accessed 27 Apr. 2021.

Llewellyn-Jones, Lloyd. Aphrodite’s Tortoise: the Veiled Woman of Ancient Greece. The Classical Press of Wales, 2010. 

Marlowe, Michael. “Headcovering Customs of the Ancient World An Illustrated Survey.” Headcovering Customs of the Ancient World, www.bible-researcher.com/headcoverings3.html. 

Massey, Preston T. Veiling among Men in Roman Corinth. Indiana Wesleyan University, 2018. 

Plutarch. “Sayings of Spartans.” Plutarch • Sayings of Spartans – 208B‑236E, penelope.uchicago.edu/Thayer/e/roman/texts/plutarch/moralia/sayings_of_spartans/main.html.Pollock, Donald. “Masks and the Semiotics of Identity.” The Journal of the Royal Anthropological Institute, vol. 1, no. 3, 1995, pp. 581–597. JSTOR, www.jstor.org/stable/3034576. Accessed 29 Apr. 2021.