TITLE: Nyelbum Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Bhutan
SUBREGION: Western Bhutan
ETHNICITY: Ngalop
DESCRIPTION: Nyelbum (Sinner) Mask
CATALOG ID: ASBT003
MAKER: Unknown
CEREMONY: Cham Dance
FUNCTION: Celebration; Entertainment; Social Control
AGE: 19th century
MAIN MATERIAL: wood
OTHER MATERIALS: pigment; cloth ties

The Ngalop people inhabit western and central Bhutan and are originally of Tibetan origin. The ethnic group includes an estimated 710,000 persons.  The Ngalop are primarily Tibetan Buddhist, and their masks are typically worn at monastery celebrations known as Cham Dances to bless the sowing of the grain, pray for a bountiful harvest, and entertain the public.  This mask, representing Nyelbum, or Digchen Nyalwabum (the sinner). The Nyelbum plays a role in the Dance of the Stag and the Hunter, a story of the Buddhist saint Millarepa’s conversion to Buddhism (along with a deer and his dog). The Nyelbum is the assistant to Millarepa, and he also plays a role in collecting donations from the crowd during the Cham performance. During the Raksha Mangcham, the Dance of the Judgment of the Dead, Nyelbum plays an important role in the morality tale of the consequences of sin and virtue. Nyelbum appears before Shinjey Choekyi Gyelpo, the Lord of Death, with the black demon Due Nagpo and the white deity Lha Karpo to judge two dead souls, Nyelbum and Khimdag Palkyed. Nyelbum pleads his poverty and ignorance, but he is judged harshly and dragged off to Hell to expiate his sins. Khimdag Palkyed lived a virtuous and enlightened life and is led to Nirvana.

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TITLE: Halloween Batgirl
TYPE: face mask
GENERAL REGION: North America
COUNTRY: United States of America
ETHNICITY: Mixed
DESCRIPTION: Vacuform Batgirl Mask
CATALOG ID: NAUS075
MAKER: Ben Cooper Inc., Brooklyn, New York
CEREMONY: Halloween
AGE: 1977
MAIN MATERIAL: styrene plastic
OTHER MATERIALS: paint; steel staples; elastic band

Halloween is one of the major secular festivals in the United States, celebrated on October 31st each year.  It originated in pre-Christian times, possibly among the ancient Celts, who practiced Samhain in late fall by wearing frightening costumes and lighting bonfires in mid-autumn to scare away ghosts. In the eighth century, Pope Gregory III declared November 1st as a day to honor all the saints collectively. The celebration prior to this All Saints Day became known as All Hallows’ Eve (hence the shortened name, All Hallowe’en, eventually elided to Halloween), and involved many of the same traditions practiced by the Celts.

Halloween formerly had many traditions that varied by region.  In modern and relatively homogenized practice, Halloween generally has three main components: costumed parties, “trick-or-treating,” and haunted houses.  Costumed parties are the modern descendant of social activities designed to honor the saints and create solidarity in the community. Children’s parties typically involved games with prizes, such as bobbing for apples and carving pumpkins and other relatively dry squash into frightening “jack-o-lanterns” with candles inside for illumination.  Adult parties commonly involve less innocent games and elaborate decorations to create a scary mood.

Trick-or-treating is the children’s practice of wearing scary costumes to extort candy and other sweets from neighbors. Like roaming goblins, the monsters visiting the house would demand a treat or threaten to play a nasty trick on the neighbor. The threat is of course a formality, as sharing candy with trick-or-treaters is considered a mandatory practice for friendly and community-spirited neighbors. In modern practice, many children have abandoned the tradition of wearing frightening costumes and have leaned toward fantasy characters such as superheroes, princesses, and fairies.

Haunted houses are a relatively modern innovation.  They may be designed and staffed by volunteers or for profit, and generally take the form of a decrepit mansion haunted by ghosts, mad scientists, monsters, the walking dead, etc. The idea is to inspire terror and wonder in a factually safe environment.

In addition, many Americans celebrate by watching horror movies (the release of which Hollywood times to coincide with the Halloween season), and in some regions, most notably Greenwich Village, Manhattan in New York and Salem, Massachusetts, major costumed parades are organized each year.  In many cities, “zombie walks” composed of masses of costumed zombies have been organized as well.

Popular masks and costumes include devils, zombies, skeletons, vampires, werewolves, mummies, witches, pirates, political figures, and characters from popular culture, such as Frankenstein’s monster. However, Halloween costumes can include almost anything, including inanimate objects and abstractions.  The choice is limited only by the imagination of the masquerader.  Masks and costumes depicting offensive racial stereotypes, popular prior to the 1980s, are no longer widely used.

This specific mask was mass produced by a process known as vacuform molding. Sheets of heated styrene plastic are placed over a three-dimensional mold and a vacuum sucks out the air, forming the plastic to the mold. The mask is then cut out, machine painted, and an elastic band is stapled to the mask. The process is exceedingly fast and inexpensive, making the mask very popular with the overwhelming majority of Americans from the late 1950s to today.

For more on 20th century American Halloween costumes, see Phyllis Galembo, Dressed for Thrills: 100 Years of Halloween Costumes and Masquerade (New York: Harry N. Abrams Inc., 2002).

Click above to watch a documentary about Halloween in the United States.

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TITLE: Moro Mask and Costume
TYPE: face mask; costume
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Solalá
ETHNICITY: Mayan (K’ich’e)
DESCRIPTION: Moro (Moor) Mask or Vaquero (Cowboy) Mask with full costume
CATALOG ID: LAGT026
MAKER: Miguel Ignacio Calel (Chichicastenango, 1926-2013)
CEREMONY: Danza de la Historia de los Moros y Cristianos; Baile del Compadrito
AGE: 1950s
MAIN MATERIAL (mask): wood
OTHER MATERIALS (mask): oil-based paint; handpainted glass eyes; synthetic eyelashes; adhesive
MAIN MATERIAL (costume): cotton cloth
OTHER MATERIALS (costume): synthetic cloth; synthetic ornaments; mirrors; metal hardware; wicker

The Danza de la Historia de los Moros y Cristianos (Dance of the History of the Moors and Christians) reenacts the reconquest of Spain by the Christians from the Muslim Saracens.  The story was taught by missionaries as part of an effort to instill respect for and fear of the Spaniards in the indigenous peoples, and to convince them that the victory of Christianity over other faiths—by violence whenever necessary—was inevitable.

The dance is still performed in parts of Guatemala. Important characters include Spaniards, Moors, saints, angels, and devils. This moro takes a form typical in the region of Solalá, with white skin, golden hair, and a resplendent quetzal bird on the forehead.

This mask is also used to represent a cowboy (vaquero) in the Baile del Compadrito (Dance of the Little Buddy) or Baile del Caxuxa of Cubulco. In this dance, a large number of cowboys, led by a black cowboy, dance with a little bull (torito) to the music of saxophones and marimbas.  As they dance and try to catch the bull, they get increasingly drunk. As they get more drunk, they increasingly make jokes and clown around with the audience and each other.

For more on Guatemalan masks, see Jim Pieper, Guatemala’s Masks and Drama (University of New Mexico Press, 2006).

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TITLE: Cajun Mardi Gras Mask and Costume
TYPE: face mask; costume
GENERAL REGION: North America
COUNTRY: United States of America
SUB-REGION: Acadiana, Louisiana
ETHNICITY: Cajun
DESCRIPTION: Cajun Mardi Gras Mask and Costume
CATALOG ID: NAUS044
MAKER: Tom Norman (Church Point, Louisiana, 1940-2019)
CEREMONY: Courir de Mardi Gras
AGE: 2017
MAIN MATERIAL: steel wire mesh; dyed cotton cloth
OTHER MATERIALS: vinyl; plastic decorations; elastic band; silicone glue; acrylic paint; cotton batting; brass bells

In Catholic practice, Mardi Gras (“Fat Tuesday”) is the last day of celebration of Carnival before the fasting period of Lent. In the Acadiana country of southern Louisiana, the descendants of French Canadian immigrants known as “Cajuns” (short for “Acadians”) celebrate Mardi Gras in a manner quite different from the better known Carnival of New Orleans.  The Courir de Mardi Gras (Mardi Gras parade) occurs in most towns of Cajun country only on Mardi Gras itself.

Masqueraders wear full or partial wire mesh masks and quilted suits with tall, conical hats covered in colorful fabric.  They either ride from farm to farm on horseback or drive as a group in trucks with an unmasked leader wearing the traditional Mardi Gras colors of green, purple, and gold.  When they reach a farm, the captain, who carries a whip in one hand and a white flag in the other, approaches the farmer and asks: “Le Mardi Gras demande votre permission pour visiter ta maison” (“The Mardi Gras requests permission to visit your house”), or words to that effect. Upon assent, the revelers descend and run or crawl toward the house, singing a begging song, then exploding into pranks and comedic antics while the captain tries to subdue them with his whip. The only way to make them leave is to donate gifts or money, traditionally a chicken for the evening gumbo, in which the farmer is invited to partake.

For more on the Acadian Carnival celebration, see the excellent book by Carl Lindahl and Carolyn Ware, Cajun Mardi Gras Masks (University Press of Mississippi, 1997).


Click above to watch a short documentary about Cajun Mardi Gras in Louisiana, 2019 and 2024.

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TITLE: Ceramic Diablo Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Michoacán
ETHNICITY: Purépecha
DESCRIPTION: Ceramic Diablo (Devil) Mask
CATALOG ID: LAMX057
MAKER: Unknown
CEREMONY: Danza de los Rancheros
AGE: ca. 2010s
MAIN MATERIAL: terra cotta
OTHER MATERIALS: paint

In the small town of Ocumicho, Michoacán, many traditional dances are still practiced, including the Danza de los Viejitos (Dance of the Little Old Men) and Danza de los Venados (Dance of the Deer). Unlike most of Mexico, dance masks in Ocumicho are traditionally made of fired clay (barro) instead of wood, because of the abundance of clay deposits in the region. Although wood masks have become more commonly recently, clay masks are still sometimes danced. One such popular dance is the Danza de los Rancheros, in which costumed ranchers and devils dance together. The (unmasked) ranchers wearing traditional sombreros form two lines facing each other, and the masked devils dance between them to the music of trumpets, clarinets and drums. The significance of this tradition is not well understood, however.

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TITLE: Pepino Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Bolivia
SUBREGION: La Paz
ETHNICITY: Aymara; Quechua
DESCRIPTION: Pepino (Clown) Mask
CATALOG ID: LABO009
MAKER: Unknown maker in La Paz
CEREMONY: Danza de Ch’utas y Pepinos (Carnival)
AGE: ca. 2010
MAIN MATERIAL: cardboard; plaster
OTHER MATERIALS: cotton cloth; synthetic cloth; paint; mirrors; glitter; beads; tinsel

The clown Pepino is one of the key characters of the Carnival of La Paz, along with the ch’uta and cholita characters. Pepino is a good-natured trickster, spanking the young ladies with a long stocking filled with sand called chorizo (sausage) and suddenly spraying foam on spectators. Although his name literally means “Cucumber,” it is believed he developed from a famous Uruguayan clown, Pepe Podestá (Pepino also means “little Pepe”), combined with the Spanish harlequin character popular in early Republican Carnivals. At the conclusion of the festivities, the Pepino costume is carried to cemetery of La Paz where he is buried, while the cholitas and ch’utas dress in black and feign tears.

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TITLE: Carnival Wöschwyb
TYPE: face mask
GENERAL REGION: Europe
COUNTRY: Switzerland
SUBREGION: Lucerne
ETHNICITY: Swiss
DESCRIPTION: Wöschwyb (Washwoman) Mask
CATALOG ID: EUCH010
MAKER: Toni Meier, Kriens (1941- )
CEREMONY: Fasnacht (Carnival)
AGE: 2017
MAIN MATERIAL: linden wood
OTHER MATERIALS: paint; lacquer; dyed cloth

Fasnacht is what the Swiss call Carnival.  In many towns in Switzerland, Austria, southern Germany, and northern Italy, local folk don elaborate masks and costumes to parade through the town.  Different Swiss towns have variations on the parade, such as Fasnacht of Basel, the Tschäggättä of Lötschental, or the Rabadan of Bellinzona.

Although traditional masked Carnival is no longer celebrated in most of Lucerne, in the town of Kriens, masquerade using masks called Muur or Hübeli still plays a role. Two types of masked are typically used in this region, satirical character masks such as this one, which can represent either sex. Character masks come in many different types, such as the Wöschwyb (washerwoman) and Alter (old man). The other type are Schreckmasken (fright masks) representing scary men, known as the Krienser Deckel (Kriens head) and Buuremaa (farmer).

Unfortunately, the best book on Swiss masking traditions is available in German only: Albert Bärtsch, Holzmasken: Fasnachts- und Maskenbrauchtum in der Schweiz, in Süddeutschland und Österreich (AT Verlag 1993).

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TITLE: Bull Mask
TYPE: face mask
GENERAL REGION: Europe
COUNTRY: Spain
SUBREGION: Barcelona, Catalonia
ETHNICITY: Catalan
DESCRIPTION: Toro (Bull) Mask
CATALOG ID: EUES006
MAKER: Augusto Duch (Barcelona)
CEREMONY: Carnival
AGE: 2012
MAIN MATERIAL: paper maché
OTHER MATERIALS: paint; ribbons; wire mesh

Carnival is celebrated throughout Catholic Europe with parades and other festivities, often including masqueraders. For centuries, Spaniards venerated the ritual of bullfighting, inherited from Roman gladiator contests, and it is still practiced in parts of Spain. Although several regions, including Catalonia since 2012, has banned it as unnecessary cruelty to animals. Nonetheless, the symbol of the bull survives as part of Spanish culture and tradition. The bull is consequently a popular character in Spanish Carnival due to its association with virility and strength.

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TITLE: Siqlla / Doctorcito
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Peru
SUBREGION: Cusco
ETHNICITY: Quechua; Aymara
DESCRIPTION: Siqlla (Doctorcito, or Little Doctor) Mask
CATALOG ID: LAPE018
MAKER: Unknown maker in Paucartambo
CEREMONY: Danza Wayra (Kuwallada)
AGE: 2011
MAIN MATERIAL: paper maché
OTHER MATERIALS: plaster; paint; string

The city of Paucartambo, Peru, celebrates the Festival of the Virgin of Carmen (Mamacha Carmen) annually on July 16th. The Festival begins by the carrying of an image of the Virgin Mary through the streets to the church. Among the festivities that follow is the Kuwallada, a festival involving numerous masked characters in elaborate costumes. One component of Kuwallada is the Danza Wayra, also called Danza Siqlla or Siqlla, after the Quechua word for this character. The term wayra is Quechua for “wind,” probably referring to the “hot air” blown by liars; siqlla has no equivalent English word. Technically, these two dances are slight variations of each other, distinguishable by costume differences.  However, both satirize the grasping lawyers (in this context, “doctorcito” refers to a doctor of law, not a medical doctor), judges, and politicians of the town who are arrogant or abusive toward the indigenous population.

The dance is also performed throughout the Cusco region, including in Cusco itself, Pisaq, and Ollantaytambo.  It centers around a trial of an indigenous man (maqta), recited in Quechua and Spanish. The prosecutor leads the dance, followed by a mayor, lawyers, and the maqta. Most of the characters have exaggerated noses and fancy European clothes (except the maqta, who wears traditional Peruvian garb), but the lawyers are distinguished in carrying a bible and a whip.


Click above to watch a short documentary on Corpus Christi in Cusco, Peru.

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TITLE: Cherokee Booger
TYPE: face mask
GENERAL REGION: North America
COUNTRY: United States of America
SUBREGION: North Carolina
ETHNICITY: Cherokee
DESCRIPTION: Booger mask
CATALOG ID: NAUS080
MAKER: Luther “Toby” Hughes (Westville, Oklahoma, birth year unknown)
CEREMONY: Booger Dance
AGE: 1994
MAIN MATERIAL: cedar wood
OTHER MATERIALS: horsehair; pigment; leather straps

In the Eastern Cherokee Nation, the booger (tsu’nigadu’li) dance forms an important part of the winter celebration to discourage evil spirits from disrupting the coming growing season.  The boogers themselves represent the evil spirits, and they traditionally portrayed grotesque faces seeking to fight, chase women, and create general havoc. Following colonization, the booger dancers focused their misdeeds especially on satirizing the insolence, foolishness, and lust of European colonists toward the Cherokee women.

Booger masks could be made of wood, gourds, or carved wasp nests. This mask was made by Luther “Toby” Hughes, a member of the Keetowah Band who was designated a Living National Treasure in 1994, the same year this mask was made.

For more on Cherokee masked dance, see Frank G. Speck & Leonard Broom, Cherokee Dance and Drama (University of Oklahoma Press 1951).

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