gs 11. GRADIENT FORMINGS a. the use of curved horns. 12. SUB-IDENTITY FORMINGS a. Animal sound associations EXTENDED FORM The use of extended routing paths that outline the ritual pathway of the Jola ritual initiation ceremony can also be viewed as not separate from 1) the use of lineage-based shrines (called 'buneeti in Thionk-Essyl, 'sineeti or 'ukiin elsewhere in the region) 2) a demonstration of 'projected form' (that is, path route formation as a hint of Jola perceptions of form and formal dynamics 3) MASQUERADE AS A HIDDEN FORM The use of masquerade in video tape number one is consistent with the image logic characteristics of the composite culture. In seeking to understand this quality the 'experiencer' is reminded that: 1) the men are dressed as women before going into the forest, as a way to symbolize the change from adolescence to manhood 2) the recognition of witch craft 3) the adopted use of paid 'experiencers' 4) the leading of the parade by the Kanyalen sorority women 5) the use of modern day video cameras as a factor that symbolizes change (and illusion 6) the emergence of composite folkloric festivals as a point of 'change' in regional pageantry 7) the recognition of 'polarity-balance aesthetics/experiences that allows for the use of familiar and foreign 'actualization's' to take place all at the same time and 8) the internal lineage connections between all of the people in the Casamance region. All of these matters give insight into the spectra of poetic experiences that allow for the use of masquerade and the extended thrust of this phenomenon encompasses a) the wonder of sexuality; the creation of prescribed roles for the older women, special 'responses' made with the camera in mind, the use of combining ethic ritual celebrations. In the end there is really no difference between the Jola and the Balanta people; instead the folkloric festival of the Casamance is also an illusion that allows for the Jola to continue to ...
