TITLE: Moor Mask
TYPE: face mask; accessory
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Veracruz
ETHNICITY: Nahua
DESCRIPTION: Moro (Moor) Mask
CATALOG ID: LAMX160
MAKER: Antonio Vázquez Tepo (Xico, 1933-2017)
CEREMONY: Danza de los Moros y Cristianos
AGE: 2016
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint

The Danza de los Moros y Cristianos (Dance of the Moors and Christians), also known as the Danza de la Conquista, is an important celebration in the Mexican state of Veracruz. The dance reenacts the reconquest Spain from the Saracens by the European Christians. The dance arose from the teachings of 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 widely in Mexico, including in Mexico State, Michoacán, Puebla, and Veracruz. Characters vary depending on locality, although they always include “Christians” or “Spaniards” and Moors. This mask represents a Moor and is made in the style common in the region of Xalapa and Coatepec.

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TITLE: Rubio Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Oaxaca
ETHNICITY: Mixtec
DESCRIPTION: Rubio (Blond One) Mask
CATALOG ID: LAMX080
MAKER: Unknown maker in Santiago de Juxtlahuaca
CEREMONY: Danza de los Rubios (Carnival)
AGE: 1950s-1960s
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint

The Danza de los Rubios (Dance of the Blond Ones), also known as Danza de los Pachecos (Dance of the “Stoners”) is a ceremony performed during the Carnival in the Mixtec region of Oaxaca. The rubio characters dress as charros (cowboys) in  chaps, spurs, sombreros, and dark masks, and carry leather whips. They are said to represent the native country folk who become drunk on aguardiente after a hard day’s work herding cattle. They dance with elaborately dressed women (sometimes masked, sometimes not) to the chilena music of violins and the jarana, a small guitar-like instrument, and periodically comment on difficulties of the cattle drive. The dance probably dates back a century or more. Characters include El Caporal (the leader), the Caporal‘s wife (María Cotita), the Caporal‘s mistress (María Lencha), and various cowboys, named Alvarado, El Rubio, Margarito (also known as the Chile Verde), and Pachequito. In addition, one or more rubios wearing a large leather bull figure over his head and shoulders, representing a troublesome toro (bull), appears to illustrate the rigors of the cattle drive, as the charros struggle to control the cattle. The masks are frequently disfigured to represent the drunkenness of the characters. This specific mask may represent any of the rubios or the Caporal himself.

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TITLE: Mardi Gras Jester
TYPE: face mask
GENERAL REGION: North America
COUNTRY: United States of America
SUB-REGION: New Orleans, Louisiana
ETHNICITY: Mixed
DESCRIPTION: Leather jester half mask
CATALOG ID: NAUS060
MAKER: Vincent Alan Ur (Tulsa, OK, 1966- )
CEREMONY: Mardi Gras
AGE: 2004
MAIN MATERIAL: leather
OTHER MATERIALS: acrylic paint

In Catholic practice, Mardi Gras (“Fat Tuesday”) is the last day of celebration of Carnival before the fasting period of Lent. In the United States, the holiday is nowhere more vigorously celebrated than in New Orleans, Louisiana. There, a two-week Carnival season terminating on Mardi Gras is celebrated with parades composed of elaborate costumes and masks, floats, marching bands, all organize by private “krewes” composed of public-spirited citizens dedicated to preserving the Mardi Gras tradition. Krewes tend to have a fairly constant structure of officers, who frequently ride horseback in handsome costumes and white draped masks, float riders who chuck “throws,” or small gifts such as plastic beaded necklaces, toys, or mementos (usually with the krewe’s name and insignia) into the cheering crowds, and a guest “king” and “queen” of the krewe.

Mardi Gras in New Orleans is also typically celebrated with formal balls held by the krewes in honor of the king and queen, and to celebrate the season.  Mask wearing among street celebrants is common as well. Traditionally, Mardi Gras masks are made of formed and painted leather, and can represent any character from real life or fantasy.  In modern practice, cheap masks mass manufactured of sequined cloth or paper maché covered in dyed feathers have become common.

This specific mask was hand made by a skilled artisan from Tulsa, Oklahoma and brought to New Orleans during Mardi Gras to be sold. Fantastical characters and beasts are common choices for Mardi Gras characters in New Orleans.


Click above to watch a short documentary about Mardi Gras in New Orleans, Louisiana in 2019 and 2020.

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TITLE: Iroquois False Face Mask
TYPE: face mask
GENERAL REGION: North American
COUNTRY: Canada
SUBREGION: Ontario
ETHNICITY: Iroquois (Onandaga)
DESCRIPTION: Ghost False Face Mask
CATALOG ID: NACA005
MAKER: Gene Thomas, Wolf Clan (Six Nations Reserve, Ontario, 1958- )
CEREMONY: Divination; Healing; Purification; Secret Society
AGE: 2010
MAIN MATERIAL: white pine wood
OTHER MATERIALS: copper sheet; horse hair; paint

The Mohawk people (Kanien’kehá-ka) belong to the Iroquois League (Haudenosaunee) and historically inhabited western New York state, as well as parts of Quebec and Ontario, before being displaced by Dutch and British settlers.  They maintain tribal lands in Ontario and Quebec today, reserved by treaty.

Most Iroquois nations, including the Onandaga, had three medicine societies, one of which was the False Face Society.  It is probably no longer a secret society, because although its membership is limited to initiates who have been cured by the Society or had an important dream, most persons in modern Iroquois communities are apparently aware of the Society’s membership.

Among the important rituals of the False Face Society are village purification of diseases, the healing of sick persons, and facilitation of dream fulfillment during the midwinter festival. The masks worn by the Society take a variety of forms, mostly with blowing lips to blow healing ashes on a sick patient.  The copper eyes convey the spirituality of the mask.

For more on Iroquois masking traditions, see William N. Fenton, The False Faces of the Iroquois (University of Oklahoma Press, 1987).

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TITLE: Cristiano Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Alta Verapaz
ETHNICITY: Mayan
DESCRIPTION: Cristiano (Christian) Mask
CATALOG ID: LAGT008
MAKER: Unknown maker from the area of Rabinal or Cobán
CEREMONY: Danza de la Historia de los Moros y Cristianos
AGE: ca. 1950s
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint

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 Cristiano takes a form typical in the region of Alta Verapaz, with its blue chin (suggesting a shaved beard), sunburned face, and blonde eyebrows.

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TITLE: Halloween Orc Mask
TYPE: helmet mask
GENERAL REGION: North America
COUNTRY: United States of America
ETHNICITY: Mixed
DESCRIPTION: Orc Fantasy Mask
CATALOG ID: NAUS021
MAKER: Leon Hastings (Seaford, Delaware, 1980- )
CEREMONY: Halloween
AGE: 2013
MAIN MATERIAL: neoprene plastic
OTHER MATERIALS: epoxy; acrylic paint; acrylic hair; leather strip; hardware

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 inspired by the fictional monsters of J.R.R. Tolkien’s The Lord of the Rings trilogy. The “orcs” in Tolkien’s mythology are evil humanoids who serve a demonic demigod. The mask was hand cast and painted by master craftsman Leon Hastings, whose workshop is located in Augusta, Maine.

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

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TITLE: Batak Karo Gundala
TYPE: face mask
GENERAL REGION: Oceania
COUNTRY: Indonesia
SUBREGION: Sumatra
ETHNICITY: Karo Batak Toba
DESCRIPTION: Gundala Mask
CATALOG ID: OCID009
MAKER: Unknown
CEREMONY:
FUNCTION: Agriculture; Entertainment
AGE: ca. 1950s
MAIN MATERIAL: wood
OTHER MATERIALS: natural pigment

The Karo people are a subgroup of the Batak Toba and inhabit the northern part of the Indonesian island of Sumatra.  They have largely resisted proselytization and adhere to traditional animistic beliefs and practices.  Gundala masks such as this one were traditionally used to pray for rain at seed sowing time, or as comical entertainment for the community leaders during major festivals.

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TITLE: Dan Maou Mask
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Côte d’Ivoire
ETHNICITY: Maou (Dan)
DESCRIPTION: Koma Society Mask
CATALOG ID: AFCI002
MAKER: Unknown
CEREMONY: Secret Society; Social Control
AGE: Late 20th century
MAIN MATERIAL: wood
OTHER MATERIALS: burlap; cowrie shells; raffia fiber; iron bell; cotton wadding; string; kaolin clay

The Dan people are a large ethnic group inhabiting Liberia and Côte d’Ivoire.  In the northwest region of Côte d’Ivoire is the Dan Maou, a subgroup of the Dan. The Maou are largely governed by a variety of secret societies that use masquerade to enforce social norms and punish witchcraft and sorcery. The Koma society uses this anthropomorphic bird-beaked mask to detect and punish sorcery.

For more on Dan masks, see Eberhard Fischer, Dan Forest Spirits: Masks in Dan Villages, AFRICAN ARTS, Vol. 11, No. 2, pp. 16-23 (1978).

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TITLE: Halloween Black Mask
TYPE: face mask
GENERAL REGION: North America
COUNTRY: United States of America
ETHNICITY: Mixed
DESCRIPTION: Buckram “Negro” (Black Man) Mask
CATALOG ID: NAUS027
MAKER: Unknown
CEREMONY: Halloween
AGE: ca. 1920s-1930s
MAIN MATERIAL: buckram
OTHER MATERIALS: paint

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 such as this one, depicting highly offensive racial stereotypes, were popular prior to the 1980s, but are no longer used by civilized persons.

This specific mask, representing a generic stereotyped black male (at the time, the terms “colored” and “negro” were considered proper), was made from buckram, moistened and dried over a form, then hand painted with details. Such mass-produced masks were popular among the middle class in the 1920s to 1950s, when they were replaced by vacuformed plastic.

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: Diablo de Tropa
TYPE: helmet mask
GENERAL REGION: Latin America
COUNTRY: Bolivia
SUBREGION: Oruro
ETHNICITY: Quechua and Aymara
DESCRIPTION: Diablo de Tropa (Troop Devil) Mask
CATALOG ID: LABO001
MAKER: Unknown
CEREMONY: Carnival (La Diablada)
AGE: ca. 1970s
MAIN MATERIAL: recycled tin sheet
OTHER MATERIALS: paint; metal springs; glitter; glue

The Diablada is an important part of Carnival in several towns in the Altiplano region of Bolivia, Peru, and northern Chile.  The Diablada of Oruro, Bolivia, is famous for the large numbers of participants and the elaborateness of their masks and costumes.

The dance dates back to pre-colonial times and was adapted under the influence of the Spanish missionaries to conform to the Catholic doctrine of the struggle between good and evil.  The dance begins with the Archangel Michael commanding personified seven virtues against Lucifer and his personified seven deadly sins and an army of male and female devils.  Other non-European characters, such as the Andean Condor and the jukumari bear, also play a role.

The dance typically occurs in the course of the parade, with marching bands playing musical scores dating back to the 17th century.  In practice, the dance includes both male and female devils dancing in a group led by (rather than opposed by) the Archangel Michael.  Troop devils (diablos de tropa or demonios de tropa) are the standard parade devil, with dragons on the head to represent ferocity.

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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