The use of tribal masks for rituals in different cultures
The use of masks across various cultures has been centered on social and religious significance. Tribal masks have been used in ceremonies commonly associated with curing illnesses, fertility rites, and funerary customs. The tribal masks are also used to decorate mythological events in dramatic forms; some cultures use such events as markers for their beliefs and practices (Gilles, 2012). Also, the masks have been used on festive occasions in cultures across different parts of the world. Apart from cultural events, masks have been used by various tribes during certain adverse weathers. The history of warfare among other tribes has also seen masks as protective tools. People believe that their masks have certain powers to protect them against injuries or possibly death entirely.
Masks associated with rituals could sometimes be used as a source of balance between harmful spirits and inherited positions. The use of masks for rituals in different cultures was shaped by differences in the traditions of the various tribes. Secret societies are linked to practices in Africa; the usage of such masks depended on functions and the size of the tribe. Masks represent supernatural beings, and Africans localize a particular spirit in a specific mask. This is considered a significant reason for the use of masks in rituals up to date.
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In other cultures, formal events of discipline involved masks among North America, China, and Oceania. Among the tribes of the South Pacific, admonitory masks cover the main features of the person wearing them. Mothers also wear tribal masks before performing a disciplinary action, punishing a child who did wrong. The dangers lurking in water points compelled some tribes to give children masks to wear while fetching water. In effect, the children would then see the hideous figure at the bottom of the water reservoirs; the child will get frightened and have some discipline.
Why News Photographs Should Not Be Altered
The contents of a photograph should not be altered in Photoshop or by any other means. That is because altering goes against the ethics of photojournalism. The code of ethics is responsibility, honesty, truth, and accuracy. Photojournalism generally has a significant role in disseminating information and is considered more effective than written words (Whitt, 2014). Images presented in magazines, newspapers, and online platforms can inspire, sparking debate, or incite anger, rebellion, or even action from the audience. A photograph portrays significant moments and emotions of the picture than a long written article can do. Altered photography can distort the original and the accurate information that is intended to be portrayed.
Altering photography will deny individuals the chance to relate to the news being conveyed. There is always a probability that a viewer will connect more closely with the original coverage than the altered one (Whittaker, 2019) .Altering makes it more difficult for the readers and viewers to identify with the news story being aired. Also, photographs possess the objective of quality, and when altered, the quality is biased and goes against the standards of photojournalism.
Staging and altering photographs can lead to biases and distort public trust in the particular firm. That can cause the media firm to lose its loyal followers, who could feel that they are being fed with fake and altered content and could decide to seek alternatives. Lastly, it is difficult for news viewers and readers to know what is real and staged as a result of manipulating photographs. Hence, as photos retain their prominence in the news, the code of ethics and standards of photojournalism continues to stand against altering photographs.
References
Gilles, M. (2012). Tribal rituals of the MDL. Journal of Tort Law , 5 (1-2). https://doi.org/10.1515/jtl-2014-0009
Sachant, P. J., LeMieux, J., & Tekippe, R. (2015). Introduction to art: Design, context, and meaning .
Whitt, P. (2014). Editing portraits and recomposing images. Beginning Photo Retouching and Restoration Using GIMP , 189-230. https://doi.org/10.1007/978-1-4842-0403-0_8
Whittaker, E. (2019). Where is the photography of non-photography? Philosophy of Photography , 10 (1), 133-150. https://doi.org/10.1386/pop_00011_1
