TITLE: Cora Tiznado Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Nayarit
ETHNICITY: Cora
DESCRIPTION: Tiznado (Judio) mask in the form of dragon
CATALOG ID: LAMX074
MAKER: Unknown
CEREMONY: Semana Santa (Holy Week)
AGE: late 1970s
MAIN MATERIAL: paper maché
OTHER MATERIALS: watercolor paint; cotton cloth; cotton wadding; elastic straps

The Cora people of Nayarit resisted Spanish colonization and proselytization long after most of Mexico succumbed, and their pre-Christian traditions still survive with a thin veneer of Catholicism. Traditionally, the Cora worship three gods, associated with the sun, the moon, and corn.

During the Semana Santa (Holy Week), Cora men paint their bodies with black and white stripes and wear judio (Jew) masks (also called borrados) designed to look like monsters and devils that carry swords and persecute the sun god, who takes the Catholic form of Jesus of Nazareth. The characters are known as tiznados (“covered with ash”).  On Good Friday, the judios capture and kill the sun god, who is resurrected the next day and banishes the judios.

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TITLE: Monpa Arachako Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: China
SUBREGION: Tibet
ETHNICITY: Monpa
DESCRIPTION: Arachako Mask
CATALOG ID: ASCN007
MAKER: Unknown
CEREMONY: Cham Dance
FUNCTION: Celebration; Entertainment
AGE: ca. 1930s
MAIN MATERIAL: teak wood
OTHER MATERIALS: paint

The Monpa people are a small ethnic group, estimated at around 78,000 persons, who inhabit Tibet, the Indian state of Arunachal Pradesh, and Bhutan. They are a nomadic people who rely heavily on grazing herds for subsistence.  The Monpa are primarily 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 a clown character known as Arachako, was sent by the Buddha along with Arachako’s wife to cheer up the people in times of gloom.

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TITLE: Mestiza Qollacha
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Peru
SUBREGION: Jauja
ETHNICITY: Quechua; Aymara
DESCRIPTION: Mestiza Qollacha (Mixed Race Woman) Mask
CATALOG ID: LAPE022
MAKER: Unknown maker from Jauja
CEREMONY: Tunantada (Fiesta de San Sebastián y San Fabián)
AGE: ca. 1980s
MAIN MATERIAL: wire mesh
OTHER MATERIALS: metal strips; paint; elastic strap

The Tunantada dance is a major event during the Fiesta de San Sebastián y San Fabián, patron saints of the city of Jauja, as well as other parts of Peru, including Huaripampa, Mantaro Valley, Yanamarca Valley. In the dance, held every January, participants dress in elaborate European costumes and wear wire mesh masks to imitate and satirize Spaniards. Dancers are accompanied by music from a diverse orchestra. Characters include Spaniards, a prince, muleteers, an Indian women who becomes the lover of the Spaniards (the chupaquina or huanquita) and Indians called chutos and huatrilas. This mask represents a mestiza qollacha (also written qoyacha), or mixed race (Spanish and Quechua) woman, who dances with the españoles.  With the mask, the dancer wears a colorful and elaborately decorated hat and colorful dress.  In some parts of Peru, the dancer wears no mask.


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

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TITLE: Austrian Perchtenmaske
TYPE: helmet mask
GENERAL REGION: Europe
COUNTRY: Austria
ETHNICITY: Tyrolean
DESCRIPTION: Perchtenmaske (Krampus Mask)
CATALOG ID: EUAT004
MAKER: Markus Lanzl (Graz, 1977- )
CEREMONY: Perchtenlauf
AGE: 2006
MAIN MATERIAL: wood
OTHER MATERIALS: pigment; goat horns; goat fur

Perchtenlauf is a Tyrolean winter festival equivalent to the old Norse Yule.  In many parts of Austria, southern Germany, Switzerland, and northern Italy, in mid-December the town organizes a parade of Perchten, or demons who represent evil spirits (known in Germany as Krampus).  The Perchten wear frightening horned masks with sharp teeth and long, lolling tongues, typically in a suit of goat skin with loud cowbells attached to their belt.  Their function is to accompanying St. Nicholas, who reward good children with treats and presents, while the Perchten punish bad children by beating them with birch switches or throwing them into wicker baskets on their backs to carry down to Hell for punishment.

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TITLE: Waq’ollo
TYPE: hood mask
GENERAL REGION: Latin America
COUNTRY: Bolivia
ETHNICITY: Quechua
DESCRIPTION: White face rainbow Waq’ollo mask for Qhapaq Q’olla
CATALOG ID: LABO023
MAKER: Unknown
CEREMONY: Dance of the Qhapaq Q’olla (Qoyllur Rit’i; Corpus Christi; Fiesta de la Virgen del Carmen)
AGE: 2016
MAIN MATERIAL: dyed and knitted wool-acrylic blend
OTHER MATERIALS: N/A

In the Altiplano of Bolivia and Peru, the Quechua and Aymara descendants of the Incans still celebrate Qoyllur Rit’i, the Snow Star Festival in late May or early June to hale the reappearance of the Pleiades constellation and the harvest. Although the Catholic Church has attempted to co-opt the event, it maintains its essentially pre-Spanish conquest character.  Pilgrims from around Peru assemble in the Sinakara Valley in various costumes to dance in celebration. The Qhapaq Q’olla (“mighty Indian”) is one such character, dancing in the waq’ollo mask shown here with a hat, woven sling and a dried vicuña skin. Supposedly they represent a merchant who is half human and half llama, and who brings goods to the Cusco region for sale from the jungle and Paucartambo region, such as pisco liquor. Their roles are primarily that of clown, but they also dance and sing to the Virgin of Paucartambo. They sometimes wear a square flat hat called an aqarapi, and dance in a group.  The group is composed of a Mayor (alcalde), who carries a wooden staff of authority and a black crucifix on his mask, and his wife (la Imilla), a child (q’ollita), two captains, a llama herder (llamero), who wanders into the crowd to pretend to sell his goods, and a group of q’ollas dancing in two rows.  The imilla has a face covered by a black veil.  Qhapaq Q’olla also dance at Corpus Christi parades in Cusco and other religious celebrations.

The q’ollas, aligned according to their age, dance together, led by the captains. Sometimes children called chanako accompany them as well. The musical ensemble that accompanies them consists of a violin, an accordion, a bass drum and several Quena performers.  The q’ollas are always men born in Paucartambo. The costume consists of a flat, rectangular hat (aqarapi) decorated with sequins, old coins or beads; the waq’ollo; a lliclla skin made of vicuña wool, and the qepi that contains a young dead vicuña.  the dance, the collas sing Quechua songs about their commercial activity, their journey to Cusco, and their protective saints.


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

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TITLE: Commedia dell’Arte Arlecchino
TYPE: face mask
GENERAL REGION: Europe
COUNTRY: Italy
ETHNICITY: Italian
DESCRIPTION: Arlecchino (Harlequin) half mask
CATALOG ID: EUIT001
MAKER: Graziano “Safir” Viale (Lonigo [Vicenza], 1959- )
CEREMONY: Commedia dell’Arte; Carnival
AGE: 2013
MAIN MATERIAL: leather
OTHER MATERIALS: paint; hardware

The Commedia dell’Arte was a form of public entertainment that succeeded the classical Roman theater in Italy.  Like classical theater, Commedia performers wore leather masks to represent stock characters and often performed in amphitheaters to large audiences.  However, the Commedia differed in having only a very basic plot sketch, with most of the lines invented extemporaneously by the actors.  The Commedia‘s ability to stay topical and its frequent resort to vulgar humor, combined with the considerable talent of Italian troupes that traveled throughout Europe, made this form of theater extremely popular throughout the early 17th to late 19th centuries. Masked actors had to compensate for their inability to convey facial emotion through posture, gesture, and vocal nuance.

Arlecchino, known in English as Harlequin, was long a popular stock character of the Commedia. His always wears a black half mask with quizzically arched eyebrows and a wrinkled forehead.  Originally, his costume was a peasant’s shirt and long trousers, both covered with patches to indicate poverty.  It later developed into a stylized, tight-fitting suit decorated with colorful triangles and diamond shapes.  Arlecchino also began carrying a batte, or slapstick, at some point.  The character represents a witty and capricious gentleman’s valet, amorous of the serving maids and sometimes clownishly credulous.

To learn more about Commedia dell’Arte, see Pierre Louis Duchartre, The Italian Comedy (Dover Pubs., 1966).

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TITLE: Halloween Werewolf Mask
TYPE: hood mask
GENERAL REGION: North America
COUNTRY: United States of America
ETHNICITY: Mixed
DESCRIPTION: Latex Wolf Man (Werewolf) Mask
CATALOG ID: NAUS037
MAKER: Forum Novelties, Inc., New York
CEREMONY: Halloween
AGE: September 2012
MAIN MATERIAL: latex
OTHER MATERIALS: polyester fiber; paint; velcro; foam rubber padding

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 made in China from a design licensed by Universal Studios, based on the Wolf Man from the eponymous 1941 motion picture starring Lon Chaney, Jr.  The Wolf Man had a great influence over the horror genre in the United States. The mask was made by a contract manufacturer in China.

Item #67170, Lot #39701, FTY #1017, RN 131472

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

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TITLE: Old Man Mask
TYPE: face mask
GENERAL REGION: Europe
COUNTRY: Moldova
ETHNICITY: Romanian-Moldovan
DESCRIPTION: Bătrânească (Old Man) Mask
CATALOG ID: EUMO001
MAKER: Unknown
CEREMONY: Campanesti; Mastile; Carnival
FUNCTION: Agriculture; Celebration; Hunting; Protection/Purification
AGE: 1980s
MAIN MATERIAL: wood
OTHER MATERIALS: sheep’s wool; cow horns; paint; hardware

In Romanian and Moldovan folk traditions, many kinds of masks are used at planting time and during the celebrations of Lent prior to Christmas, and during Carnival.  Some are used for caroling, while others originate in pre-Christian rituals of appeasing the gods for a rainy spring, bountiful harvest, or successful hunt.  Only men may wear such masks.  This mask represents an old man (Bătrânească) and is a popular Carnival character.

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TITLE: Dogon Kanaga
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Mali
ETHNICITY: Dogon
DESCRIPTION: Kanage Mask
CATALOG ID: AFML004
MAKER: Unknown
CEREMONY: Dama
FUNCTION: Funeral
AGE: Mid to late 20th century
MAIN MATERIAL: wood
OTHER MATERIALS: pigment; string

The Dogon people of Mali use a tremendous variety of masks, most of which center around funeral rites, known as Dama. Traditionally, the Awa Society controlled the use of masks, such as this kanaga.  The kanaga is used in funerals to usher the spirit of the dead from the village back to its proper place in the bush.  Along with the mask, the dancer wears a hood of plaited fiber to cover the back of the head, and a costume of black and red woven cloth embroidered and decorated with cowrie shells and beads.  The kanaga dancer also wears a pair of woven pants and a long skirt of black, red, and yellow plant fibers.

The mask represents a god, the crossbars representing arms and legs, as well as the arrangement of the world, with the upper bar representing the sky and the lower bar representing the earth.  As in other African masking traditions, the white color of the superstructure indicates the spirit world.

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TITLE: Moreno (Caporal Tundiqui)
TYPE: helmet mask; accessories
GENERAL REGION: Latin America
COUNTRY: Bolivia
SUBREGION: Oruro
ETHNICITY: Quechua and Aymara
DESCRIPTION: Moreno (Caporal Tundiqui) Mask
CATALOG ID: LABO021
MAKER: Unknown
CEREMONY: Carnival (La Morenada)
AGE: 1980s
MAIN MATERIAL: tin
OTHER MATERIALS: brass; polyester fiber; metal chain; glitter; paint; dyed ostrich feathers

The Morenada (Dance of the Moors) is an annual ceremony in several towns in the Altiplano region of Bolivia, Peru, and northern Chile, usually incorporated into Carnival.  The dance includes both male and female Moors dancing in a group with whips, rattles, or scepters. A King of the Moors (Rey de Morenos) presides and coordinates the dance. The dance typically occurs in the course of a parade, with marching bands playing musical scores for the dancers.  The precise origins of the Morenada are the subject of debate, with most specialists concluding that the dance was inspired by African slaves brought to Bolivia to work the mines or the subsequent integration of Africans into the Yungas community near La Paz.  The morena wears a fancy version of the traditional Bolivian costume with the classic bowler hat.

This mask represents a male moreno, or Moor, made in the 1980s from recycled tin.  The Moors obviously never reached Bolivia, but they are represented in honor of the Spanish reconquest of Granada from the Moors in 1492.  The morenos dance as a group of males and females, both wear an elaborate and colorful costume.  Males carry a scepter, whip, or matraca (rattle)  like the ones shown here.

For more on Bolivian masquerade, see Peter McFarren ed., Masks of the Bolivian Andes (La Paz: Editorial Quipus/Banco Mercantil SA, 1993).

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