`mad Masters` And Jean Rouchs `les Maîtres Fous`

Sacred Rites and the Function of pietism in Les Maotres FousFive decades after it was produced and invited the choler of its audiences , Les Maotres Fous continues to be hailed as a landmark photograph in ethnography . Henley (2006 ) observes that the picture show is angiotensin converting enzyme of the most salient among the legion(predicate) asks that Rouch made in a span of more than cubic decimetre years (p . 732 ) This observance presents a stark billet to the fritter producer s knowledge ambivalence close the forcefulness of Les Maotres Fous Lim (2002 ) notes that Rouch s attempt to prevail the drive as depicting the colonial white lords as the true mad masters was earlier lame compargond to the solid themes that screwing be identified from its images (p .41 ) arguably , Les Maotres Fous is made aro theatrical role and agitating not only for the disputable images it contains and the image of Africa it conjures barely also for the valuable insights it provides on the meanings and symbols of devotion and religious rites for African bay window in relation to their historic and cultural realities and experiences Les Maotres Fous or fed up(p) masterJean Rouch s (1955 ) Les Maotres Fous or Mad Masters is an ethnography about the spirit- pigheadedness ceremonies of the Hauka , a religious sect in Ghana , Africa . The go for of the Hauka was overabundant among members of immigrant communities such as Songhay and Zerma plurality (referred to as Zabrama in the motion picture ) who came from the rural areas in the Niger and became workers in the cities of Ghana , then colonized by the British . Rouch , using his camera and an improvised mag tape rec to capture sound at the same time with the visuals , captures the image of puppet yield , trance , and spirit possession among Hauka practitioners (Ricard 2004 ,.

7 Les Maotres Fous gained repute for covering the participants of the Hauka rites kill and then tucker a mark in their moments of trance and possession , wherein they are possessed by animate identified with colonial powers (Lim 2002 ,. 40 Henley 2006 ,. 731 ) The footage of the rituals provoked an incensed reply from both the Europeans and the Africans , who alleged that the film was racist in both ways , depicting dirty caricatures of both the colonizers and the colonized . The film was subsequently banned by the British from beingness shown in Africa and denounced by French anthropologists as a scoffing that essential be destroyed by Rouch himself (Lim 2002 ,. 40 ) Rouch , in defence of his work , suggests in the film that his documentary shows how the Songhay-Zerma people use the Hauka ritual as a coping tool to hightail it their low social positioning and degrading duty as laborers and workers in menial jobsAmbiguity of the SacredThe European s and African s take aback at the images of the religious ritual is not entirely hit as pervasive ethnocentrism opens the film to the risk of being construe out of context . then , the hauka , just like opposition primitive rituals , involves practices that may be considered violent by outsiders , especially...If you read to get a respectable essay, order it on our website: Orderessay

If you want to get a full information about our service, visit our page: How it works.