Cross-Cultural Analysis of Traditional Masks in Contemporary Theatre Performances

Thesis Abstract

Traditional masks have long served as vital cultural symbols and performative tools within diverse indigenous communities, functioning as mediums for spiritual, social, and cultural expression. In contemporary theatre performances, artists increasingly incorporate these masks to explore themes of identity, cultural heritage, and global interconnectedness. However, there exists a limited systematic understanding of how traditional masks are adapted, interpreted, and received across different cultural contexts within modern theatrical practices. This study investigates the cross-cultural significance and interpretative frameworks associated with traditional masks in contemporary theatre, aiming to illuminate both the continuities and transformations in their performative and symbolic functions. The primary objectives are to compare the use of traditional masks in theatre productions from three distinct cultures—Sub-Saharan African, East Asian, and Indigenous North American—and examine how performers and audiences interpret these masks within cross-cultural performances. The study also seeks to analyze the influence of cultural background, theatrical context, and audience perception on the symbolic meanings attributed to masks, as well as to identify common patterns and divergent practices in their adaptation. Employing a qualitative research design, the study adopts a comparative ethnographic approach supplemented by thematic analysis. Data collection involves semi-structured interviews with 30 theatre practitioners—including directors, actors, and mask artisans—from each cultural context, as well as focus group discussions with 90 diverse theatre audiences. Additionally, a purposive sampling method ensures the inclusion of productions that explicitly integrate traditional masks into contemporary performances over the past five years. Archival research of performance recordings, scripts, and critical reviews further enriches the data corpus. Data analysis utilizes thematic coding via NVivo software to identify recurring motifs, interpretative frameworks, and cultural narratives surrounding mask usage. Cross-cultural comparisons are conducted through narrative analysis, drawing on Hall’s cultural dimensions theory and Bourdieu’s theory of cultural capital to interpret how cultural schemas influence performance practices and audience perceptions. Validity and reliability are established through member checking and intercoder agreement, while ethical considerations focus on informed consent, cultural sensitivity, and respectful representation of indigenous traditions. Preliminary expected findings suggest significant variations in how traditional masks are stylistically adapted and semantically recontextualized in different theatrical settings. For instance, African masks tend to retain their ritualistic symbolism while also serving narrative functions, whereas East Asian masks are often stylized to emphasize aesthetic and theatrical conventions. Indigenous North American masks are observed to serve as both cultural artifacts and performative expressions of spiritual identity. Audience interpretations are hypothesized to be influenced by cultural familiarity, with local audiences showing greater recognition of symbolic nuances, while global audiences focus more on aesthetic aspects. This research contributes to the existing body of knowledge by providing a nuanced cross-cultural framework for understanding the adaptation and perception of traditional masks in modern theatre. It advances theoretical discussions on performance hybridity, cultural symbolism, and intercultural dialogue within theatrical contexts. The findings offer practical implications for theatre practitioners, cultural policymakers, and educators in fostering respectful, meaningful, and innovative uses of indigenous mask traditions in contemporary performance. The study concludes that traditional masks serve as dynamic intercultural symbols capable of bridging diverse cultural identities, yet their meanings remain fluid and context-dependent. Recommendations include promoting culturally responsive dramaturgy, establishing collaborative exchange programs among practitioners, and developing guidelines for respectful representation of indigenous cultures in theatrical productions. Future research could focus on the impact of digital media integration on the transmission and transformation of mask-based performances across cultures.