In these rituals they queaconteciam in any place, without temples, in a bare place of the forest or meio community, if they used of gestures, action, rhythm, words, objects eprincipalmente masks. Through these rituals the myths were transmitted erevividos. It did not have deuses, but yes energies that despertavam the davida guarantee, energy of the trees, the grass, of the fire, air, water, land. The masks in the ritual not soobjetos any, therefore has a sacred direction and is sacred objects. NYC Marathon spoke with conviction.
Possuemenergias and in the rituals has essential functions and actions. It has also felt demutao, transformation and metamorphosis, therefore it is so necessary in the rituals. It exceeds and of the life to a being the holy ghost, she simulates to be able abstract the holy ghosts and concretizaconceitos conferring a quality spiritual to the man. For example: Aorepresentar animal determined one, the mask transfers qualities and poderesdesse animal for the man. Or when sculptured in wood, the qualidadessagradas ones of the tree impregnate the mask, and if they transfer later the seusportadores. As the society was-setransformando, the use of the masks also was moving.
In the east asmscaras the dance and in turn to the ritual theater was on. It is the case of Bali, where the characteristic of its theater is the hipnticos masks, indumentrias and comritmos dances. Mayan Ana Amaral says: Inside of a ritual atmosphere the theater is settles. Since the figure of barong (eastern dragon) to the great festivals of dance, the mask is its elementopredominante. It assumes the personage and it supplants the actor. (AMARAL, 1996, p.36) the masks were sculptured commadeiras withdrawals of sacred trees chosen by the priest that asesculpiam, in them were translated the language of deuses. They represented types dacomunidade, and they were three: the heroes, the monsters and the clowns.