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Chivo Mask

TITLE: Chivo Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Hidalgo
ETHNICITY: Otomi
DESCRIPTION: Chivo (Goat) Mask
CATALOG ID: LAMX031
MAKER: Unknown maker in San Bartolo Tutotepec
CEREMONY: Carnaval de Chivos
AGE: 1950s
MAIN MATERIAL: hardwood
OTHER MATERIALS: goat horns; goat leather & hair; paint; glitter; glue; iron nails; wire; dyed polyester ribbons; brass bells

The chivo, or goat, is a popular Carnival character in the villages of El Nante and San Bartolo Tutotepec, Hidalgo. Nearly all chivo masks have the same comical and half-sinister expression, twisted nose, lined face, and goat horns pointed upward. The horns are decorated with wires holding ribbons, bells, and tassels (in this case, partially restored later). Older masks like this one are painted with subdued colors, while newer masks tend to be brighter. At some point, the owner of this mask glued glitter to the outside, which over time flaked off.

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Chokwe Cikunza Mask

TITLE: Chokwe Cikunza
TYPE: helmet mask
GENERAL REGION: Africa
COUNTRY: Zambia
ETHNICITY: Chokwe
DESCRIPTION: Cikunza Mask for the Makishi Dance
CATALOG ID: AFZM001
MAKER: Unknown
CEREMONY: Adult Initiation; Hunting; Secret Society
AGE: ca. 1990s
MAIN MATERIAL: burlap
OTHER MATERIALS: wood; pigments; string

The populous Chokwe people of Angola, the Democratic Republic of Congo, and Zambia are known as some of the most skilled wood carvers in Africa. They resisted colonization far longer than most peoples of the region, despite repeated incursions by the Portuguese and other Europeans.

The Chokwe use masks in many contexts. The makishi (dead) dance is performed at the end of adult initiation rituals for boys, called mukanda, primarily in Zambia. The cikunza mask represents an ancestor and is worn by an older man to teach boys the knowledge they will need as men, particularly relating to hunting and sexual relationships. Unlike most African masked dancers, the cikunza does not wear a raffia fiber suit, but instead paints his body in bright geometric patterns.  After the boys are circumcised, the newly minted adults remove the masks from their relatives and swear an oath to maintain the secrets of their identities.

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China Morena

TITLE: China Morena Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Bolivia
SUBREGION: Oruro
ETHNICITY: Quechua and Aymara
DESCRIPTION: China Morena (“Brunette Woman”) mask
CATALOG ID: LABO020
MAKER: Unknown
CEREMONY: Carnival (La Morenada)
AGE: 1980s
MAIN MATERIAL: tin
OTHER MATERIALS: polyester fiber; paint

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 china morena, or brunette woman, made in the 1980s from recycled tin. The actual dancer wearing the mask may be female or a male in drag.

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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Ermitaño Mask

TITLE: Hermit Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Michoacán
ETHNICITY: Purépecha
DESCRIPTION: Ermitaño (Hermit) Mask
CATALOG ID: LAMX067
MAKER:  Unknown
CEREMONY: Pastorela
AGE: 1960s
MAIN MATERIAL: wood
OTHER MATERIALS: plaster; maque; cotton straps

The Pastorela is the ceremonial dance drama of Michoacán state in Mexico. Pastorelas, performed in February during the Shrovetide season, are primarily religious in significance. The main characters of the Dance of the Shepherds are the Devil and his minions, the Archangel Michael, shepherds, and a hermit (who paradoxically represents the ancestors of the performers).  The drama revolves around the attempts of Lucifer and his demon minions to steal the baby Jesus.  Other dramas performed on the occasion include the Dance of the Negritos (dance of the little blacks), relating to the importation of African slaves into Mexico by the Spaniards, and which includes an army of elegantly dressed “little Maries” (Maringuillas), and feos, or ugly clowns.  This mask represents a hermit (ermitaño), who traditionally has a golden beard.

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Yao Shaman Mask

TITLE: Yao Shaman Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Vietnam
SUBREGION: Northern Vietnam
ETHNICITY: Yao
DESCRIPTION: Shaman Mask
CATALOG ID: ASVN001
MAKER: Unknown
CEREMONY: Shamanic rituals
FUNCTION: healing; hunting; protection; spirit invocation
AGE: ca. 1960s
MAIN MATERIAL: wood
OTHER MATERIALS: dyed rice paper

The Yao people inhabit southern China and northern Vietnam, with small enclaves in Thailand, Burma, and Laos. They have syncretic Daoist and animist religious beliefs. Yao shamans use wooden masks to invoke god spirits for protection or successful hunting expeditions. Shamans may also use the masks to heal the sick.

Yao masks often include a “horn” on top of the head that some speculate mimics the topknot (ushnisha) worn by the Buddha. Some Yao masks are painted, but because many Yao lack access to paint, they often cover their masks with dyed paper, as they have done here.

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Yangju Byeolsandae Gaksi Mask

TITLE: Yangju Byeolsandae Gaksi Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Korea
SUBREGION: Yangju, Gyeonggi Province
ETHNICITY: Korean
DESCRIPTION: Gaksi (Concubine) Mask
CATALOG ID: ASKR007
MAKER: Unknown
CEREMONY: Byeolsandae Drama
FUNCTION: celebration; entertainment
AGE: 1983
MAIN MATERIAL: wood
OTHER MATERIALS: cotton hood; paint

Sandae noli is the type of masked drama in Gyeonggi Province and the Seoul region of Korea.  It was historically part of seasonal village festivities.  The drama is accompanied by music played on a small samhyeon yukgak ensemble, consisting of three aerophones, one chordophone, and two membranophones. The full performance involves dozens of characters in different masks.

This mask represents the gaksi character, a concubine.

For more on Korean masquerade, see Jeon Kyung-wook, Korean Mask Dance Dramas: Their History and Structural Principles (Gyeonggi-do, Rep. of Korea: Youlhwadang Pub. 2005).

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Chinelo Mask

TITLE: Chinelo Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Morelos
ETHNICITY: Nahua
DESCRIPTION: Wire mesh Chinelo mask with dark beard
CATALOG ID: LAMX072
MAKER: Unknown
CEREMONY: Carnival
AGE: 1984
MAIN MATERIAL: metal wire mesh
OTHER MATERIALS: metal strips; dyed ixtle fiber; oil-based paint

The Carnival of Morelos typically features the popular figure of fun, the chinelo, a Spanish version of the Nahuatl word zineloquie, or “disguised.” As occurred in many parts of Mexico, dances developed during Carnival as a means of expressing indigenous resentment of the European colonists.  In Morelos, the primary object of frustration was the sugar cane plantation, in which native labor was exploited while Spanish colonists enriched themselves. The chinelos represent a grotesque caricature of the invaders, with their fancy clothing, fair skin, elaborate facial hair, and arrogant mannerisms. Chinelo costumes are especially elaborate, often made to resemble velvet or satin, with bright and intricate designs in beads, sequins, fur, and feathers covering the robe and hat.  The dance of the chinelos, called the brincón (“hop”), is a series of repetitive, energetic hops to the fast-paced blare of drums, and of brass and woodwind instruments.

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Payaso Mask

TITLE: Payaso Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Veracruz
ETHNICITY: Nahua
DESCRIPTION: Payaso (Clown) Mask
CATALOG ID: LAMX149
MAKER: Unknown maker in Xico
CEREMONY: Santo Entierro de Cristo; Fiesta de la Asunción; Carnival
AGE: 2013
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint

Santo Entierro de Cristo (“Sacred Burial of Christ”) is an important festival in parts of Veracruz, particularly in the region of Teocelo, and is celebrated on the last Sunday in January. During the festival, clowns wearing red-nosed masks, animals, devils, and other characters dance to drum and trumpet music along a parade route, clicking castanets, and accompanying an image of the burial of Jesus of Nazareth. The route proceeds from the local church to a large floral arch dubbed El Calvario, where mass is held. The procession is accompanied by drums and trumpets. Sometimes other masked characters, such as animals, tourists, and cartoon characters accompany the parade.  Such masks are also worn at other celebrations, most prominently Carnival and the Asunción (“Assumption,” referring to Jesus’ mother Mary passing into Heaven), held on August 15th.

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Moor (Calavera) Mask

TITLE: Moor (Calavera) Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Veracruz
ETHNICITY: Nahua
DESCRIPTION: Moro (Moor) Mask in the form of a Calavera con Serpientes (Skull with Snakes)
CATALOG ID: LAMX156
MAKER: Rafael Mesa Oliva (Naolinco de Victoria, 1978- )
CEREMONY: Fiesta de San Mateo (Danza de los Pilatos)
AGE: 2016
MAIN MATERIAL: equimite wood
OTHER MATERIALS: oil-based paint; lacquer; plastic fangs; adhesive; string

The Danza de los Pilatos, also called La Danza de los Moros y Cristianos (Dance of the Moors and Christians), 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. In Naolinco, Veracruz, the dance is performed on the holiday of the town patron saint, St. Matthew (Fiesta de San Mateo), celebrated on Sept. 20-21 every year.  There, Moors take many forms, including devils, pirates, clowns, or, as here, skeletons. This mask represents a Moor in the form of a skeleton (calavera), with terrifying decorations.

For more on masks from Veracruz, see Bryan J. Stevens, Mexican Masks and Puppets: Master Carvers of the Sierra de Puebla (Atglen, Pennsylvania: Schiffer Pub’g, 2012).


A brief video with highlights of the Danza de los Moros y Cristianos from Naolinco’s 2018 Fiesta de San Mateo.

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Yaqui Pasko’ola Mask

TITLE: Yaqui Pasko’ola Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Sonora
ETHNICITY: Yaqui
DESCRIPTION: Brown Mañor mask with gila monster motif
CATALOG ID: LAMX119
MAKER: Julian M. Gonzalez
CEREMONY: Pasko’ola
FUNCTION: celebration; entertainment; funeral; protection
AGE: 2012
MAIN MATERIAL: cottonwood
OTHER MATERIALS: paint; string; horse hair

The Yaqui and related Mayo people inhabit the desert in the Mexican state of Sonora and southern Arizona. Their religious beliefs are a syncretic version of traditional animist practices and Jesuitical Catholicism. The pasko’olas (in the Spanish, pascolas) were malignant spirits, or children of the Devil, whom God won in a game. For that reason, their masks frequently have crucifixes and they wear a belt with twelve bells, each representing an apostle. To symbolize their evil origins, the masks have ugly expressions and vermin such as lizards, snakes and scorpions painted on them. In addition, dancers wear cords and butterfly cocoons on their legs, representing snakes and their rattles. They also wear a flower on their head, to symbolize rebirth and spring. They frequently play the role of clowns, provoking laughter in the audience by mimicking animals, reversing gender roles, organizing mock hunts, and making jokes.

Pasko’olas are danced at every major religious festival, as well as at birthdays, weddings, and funeral celebrations. For example, in Vicam, pasko’olas have traditionally danced on Día de San Juan Bautista (June 24). Sometimes a group of pasko’olas will be accompanied by a deer dancer, who dances with a taxidermy deer head as a crest. Generally, only men are pasko’ola dancers, but women have sometimes been allowed to dance with the permission of the male dancers.

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