, ,

Tlacolorero Rastero

TITLE: Tlacolorero Rastrero
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Guerrero
ETHNICITY: Nahua & Mixtec
DESCRIPTION: Rastrero (Tracker) Mask
CATALOG ID: LAMX017
MAKER: Unknown
CEREMONY: Danza de los Tlacoloreros
AGE: ca. 1960
MAIN MATERIAL: wood
OTHER MATERIALS: paint; plant fiber; steel nails

The Danza de los Tlacoloreros tells the story of farmers who banded together to hunt jaguars committing depredations on their livestock. Its origin was the precolonial dance in honor of the Aztec god Tláloc, praying for rain for a good harvest.  It is commonly danced in Guerrero.

The Rastrero is the peasant who acts as tracker of the jaguars.  This mask was used for many years and periodically, though inexpertly, repainted as old coats wore off, with new plant fibers attached as beard and mustache over time.

: /by
,

Baule Mblo

TITLE: Baule Mblo
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Côte d’Ivoire (Ivory Coast)
ETHNICITY: Baule
DESCRIPTION: Mblo (portrait) mask with chief on head
CATALOG ID: AFCI024
MAKER: Unknown
CEREMONY: Mblo Celebration
AGE: ca. 2000
MAIN MATERIAL: wood
OTHER MATERIALS: paint

The Baule people of Côte d’Ivoire use many kinds of cultural masks and are known for the artistry and skill of their carvers. The Mblo celebration serves primarily as entertainment and the conferring of social status on certain honored individuals.  At the end of the Mblo celebration, portrait masks are danced individually in a series of increasing complexity. Each mask represents an honored villager.  This specific mask represents a chief, as indicated by the status symbol atop the head.

: /by

Wayang Wong Rama

TITLE: Wayang Wong Rama
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Indonesia
SUBREGION: Bali
ETHNICITY: Balinese
DESCRIPTION: Rama Mask
CATALOG ID: ASID024
MAKER: Ida Wayan Tangguh (Singapadu, 1935-2016)
CEREMONY: Wayang Wong
AGE: 2012
MAIN MATERIAL: pule wood
OTHER MATERIALS: gold-plated silver; glass; mirrors; buffalo leather; paint; gold leaf

The Wayang Wong dance drama retells parts of the Hindu epics, the Ramayana and the Mahabharata. These epics revolve around the god Rama and his battle with the demon king Ravana, who has abducted Rama’s wife, Sita. In the end, Rama retrieves her with the help of the wily monkey god, Hanuman.  This mask represents Rama and was carved in 2012 by the late master craftsman, I. Wayan Tangguh.

For more on Balinese masks, see Judy Slattum, Masks of Bali: Spirits of an Ancient Drama (San Francisco: Chronicle Books, 1992).


Video of a Wayang Wong performance in Bali, Indonesia.

: /by
,

Soul Mask

TITLE: Soul Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Michoacán
ETHNICITY: Nahua
DESCRIPTION: Calavera (Skull) Mask Representing an Espíritu (Soul)
CATALOG ID: LAMX064
MAKER: Manuel Horta Ramos (Tocuaro)
CEREMONY: Día de los Muertos
FUNCTION: celebration; spirit invocation
AGE: 2015
MAIN MATERIAL: wood
OTHER MATERIALS: plaster; maque

Día de los Muertos (Day of the Dead) is an important Mexican celebration of pre-Christian origin. In its modern incarnation, Day of the Dead (actually, two days in most places, November 1st for children and 2nd for adults) celebrates deceased family members with ofrendas (offerings) to the spirits who return to visit and night-long vigils at the graves of the departed. The graves are frequently decorated with flowers, candles, and sweets for children and alcohol for adults.

In parts of Mexico, Day of the Dead is also celebrated with desfiles (parades) or comparsas (appearances or performances) by masqueraders. Because Day of the Dead celebrates the departed, the calaca, or skull, remains an extremely popular image. The skull and skeleton are important symbols in pre-Christian Mexican culture and are found extensively in Aztec, Mixtec, Mayan, and other indigenous art.  This mask represents a soul (espíritu) being carried to its destination (Heaven or Hell) by a bat.

: /by
, ,

Ajitz Mask

TITLE: Ajitz Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Totonicapán
ETHNICITY: Mayan (K’ich’e)
DESCRIPTION: Ajitz (Shaman) Mask
CATALOG ID: LAGT015
MAKER: Unknown
CEREMONY: Baile de la Conquista
AGE: 1950s
MAIN MATERIAL: wood
OTHER MATERIALS: paint; glass eyes; metal hardware

The Baile de la Conquista (Dance of the Conquest) retells the conquest of the Mayan Empire by the Spanish conquistadors.  The leader of the conquistadors in the area now known Guatemala was Pedro de Alvarado y Contreras (1485-1541), who participated in the subjugation of Cuba, Mexico, and most of central America, and eventually the governor of Guatemala. His viciousness made him especially hated by the indigenous population.

The dance began as early as the 16th century, and begins with the arrival of Spanish ambassadors to the K’ich’e king, along with princes and princesses (Malinches). The king seeks support for resistance from the governor of Xelajú, named Tecún Umán, who appears with his lieutenant, Huitzitzil Zunun, and priest, Ajitz (who is represented in this mask). This leads to a battle, in which Alvarado duels with Tecún Umán, who is killed, resulting in the conversion of the conquered K’ich’e people to Catholicism.

This Ajitz has had numerous repairs during fifty or sixty years of use. The metal hardware was painted over to prevent rusting caused by contact with sweat from the dancer’s face.

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

: /by
, , ,

Guro Zamble

TITLE: Guro Zamble
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Côte d’Ivoire
ETHNICITY: Guro
DESCRIPTION: Zamble Mask
CATALOG ID: AFCI001
MAKER: Unknown
CEREMONY: Celebration; Entertainment; Funeral
AGE: ca. 1960s
MAIN MATERIAL: wood
OTHER MATERIALS: paint

The Guro zamble mask represents a mythical animal resembling a cross between an antelope and crocodile.  It forms part of the trio of sacred masks with the gu and zaouli. In the past, gu was often presented as the wife of zamble, but in modern rituals she is usually represented as the wife of zaouli, which would make her zamble‘s mother. All three masks are cult objects to which sacrifices are periodically made to bring prosperity to the family that owns them and to drive away evil spirits.  In the past, the zamble may have been a “witch-hunter,” but today they are danced for celebrations and as entertainment, and also at funerals and to honor ancestors.  In this latter context, zamble is especially important, because it is the only nature spirit caught and tamed by an ancestor of the Guro people.

For more on Guro masking traditions, see Eberhard Fischer, Guro (Prestel, 2008) or Anne-Marie Bouttiaux, Guro (5 Continents Editions, 2016).

: /by
,

Parachico Mask and Montera

TITLE: Parachico Mask
TYPE: face mask; accessory
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Chiapas
ETHNICITY: Mayan
DESCRIPTION: Parachico mask with montera
CATALOG ID: LAMX010
MAKER: Unknown maker in Chiapa de Corzo
CEREMONY: Fiesta de San Sebastián
AGE: 1960s
MAIN MATERIAL: cedar wood
OTHER MATERIALS: oil paint; glass eyes; ixtle fiber montera; ribbons

The Baile de los Parachicos is unique to Chiapas, the southernmost region of Mexico, and is most commonly performed in Chiapa de Corzo and Suchiapa.  It may have pre-Columbian origins, but its modern version is believed to originate in the myth of a wealthy Spanish noblewoman whose sick child could not be cured by doctors in Guatemala. She eventually brought him north to Chiapas, and a Mayan priest recommended she bathe in the healing waters of Cumbujuyú for nine days.  After the child recovered, the woman held a feast of thanksgiving and her servants danced for the children. Hence the name, parachico, meaning “for the little boy.”  In modern times, the parade is held during the holiday of St. Sebastian, the patron saint of Chiapa de Corzo.

The dance begins with a parade of the parachicos through the streets led by a patrón, or boss, whose mask is somewhat more elaborate than usual. All parachicos wear black pants with colorful embroidered designs, white shirt, a bright sarape, black leather boots, and they carry a tin rattle (sonaja).  As they parade, they echo phrases shouted by the leader, such as:

“¡Vivan los que ya no pueden, muchachos!” (“Long live those who can’t do it any longer, boys!” or “Long live the elders!”)

“¡Viva el gusto de nosotros, muchachos!” (“Long live our shared tastes, boys!” or “Long live our traditions!”)

“¡Viva la mano poderosa, muchachos!” (“Long live the powerful hand, boys!” or “Long live God’s will!”)

“¡Viva la pandilla rica, muchachos!” (“Long live the rich gang, boys!” or “Long live the parachicos!”)

They may also shout out more or less improvised verses, devout or comical, such as “Little mermaid, little mermaid, sea mermaid, Praise the Holy One and señor St. Sebastián” or “Passing by your window, you threw me a lemon, the lemon hit my face, and went straight to my heart.”

They then perform a group dance to the sound of drums and marimba, guitar, or other instruments. Women in brightly colored floral dresses may accompany them in less formal dances.

: /by
, ,

Margarita Mask

TITLE: Margarita Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Chichicastenango
ETHNICITY: Mayan (K’ich’e)
DESCRIPTION: Margarita Mask
CATALOG ID: LAGT028
MAKER: Unknown maker in Chichicastenango
CEREMONY: Baile de los Mexicanos
AGE: ca. 1940s
MAIN MATERIAL: wood
OTHER MATERIALS: paint

The Baile de los Mexicanos (Dance of the Mexicans) predates the Mayan conquest, but its modern incarnation is mainly a form of entertainment dating to around 1940. The dance is performed in various Guatemalan towns, usually during the annual festival in honor of the local patron saint. The mexicanos, wearing masks with long noses and handsome mustaches, and wearing the charro hat and elaborate costume, dance to marimba music to impress the masked Margarita (also known as Malinche and always played by a man), who persistently rejects them.  They drink aguardiente (a strong liquor distilled from sugar cane) as they dance.  In some towns, such as Joyabaj, the rivalry rises to the point that the love sick Mexicans threaten each other with pistols.  In others, such as Chichicastenango, the Mexicans may carry snakes.  Other characters include a negrito (black man) and torito (little bull).

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

: /by
,

Kali Mask

TITLE: Kali Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: India
SUBREGION: Unknown, probably Uttar Pradesh or West Bengal
ETHNICITY: Bengali
DESCRIPTION: Kali (Durga) Mask
CATALOG ID: ASIN004
MAKER: Unknown
CEREMONY: Vijayadashmi Festival; Dussehra Festival
AGE: ca. 1960s
MAIN MATERIAL: paper maché
OTHER MATERIALS: paint

During Vijayadashmi and Dussehra festivals, the Ramlila story is frequently reenacted by masked actors. The Ramlila is a story of the god avatar Rama, similar to the story told in the Ramayana.

This mask represents Kali, a god who leapt from Durga’s brow in order to kill certain demons, but became so battle raged that she began killing everything in her path until Shiva stopped her by throwing himself under her feet. Kali is considered another side of Durga, but destructive and evil, and so she appears black and ferocious, with fangs.

: /by
,

Bozo Sogo Kun

TITLE: Bozo Sogo Kun
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Mali
ETHNICITY: Bozo
DESCRIPTION: Sogo Kun Mask
CATALOG ID: AFML011
MAKER: Unknown
CEREMONY: Entertainment; Social Status
AGE: ca. 1970s
MAIN MATERIAL: wood
OTHER MATERIALS: paint; dyed cloth; plant fiber; hardware

The Bozo people of Mali inhabit the area along the Niger River and live predominantly by fishing. Many have been converted to Islam, but they nonetheless maintain animist beliefs and masking traditions today. Unlike other west and central African peoples, however, the Bozo do not use masks for important spiritual functions so much as for entertainment.  Masks and associated puppets (sometimes, the two are combined) entertain the village and raise the dancer’s social status through demonstrations of skill in mask making and dancing.

: /by