TITLE: Halloween Indian Mask
TYPE: face mask
GENERAL REGION: North America
COUNTRY: United States of America
ETHNICITY: Mixed
DESCRIPTION: Buckram Native American mask
CATALOG ID: NAUS018
MAKER: Unknown
CEREMONY: Halloween
AGE: ca. 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 offensive racial stereotypes, popular prior to the 1980s, are no longer widely used.

This specific mask, representing a generic stereotyped Native American, 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: Payaso Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Veracruz
ETHNICITY: Nahua
DESCRIPTION: Payaso (Clown) mask with star glasses
CATALOG ID: LAMX150
MAKER: Unknown maker in Teocelo
CEREMONY: Santo Entierro de Cristo; Fiesta de la Asunción; Carnival
AGE: 2016
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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TITLE: Yei Bi Chei Ganaskidi
TYPE: hood mask
GENERAL REGION: North American
COUNTRY: United States of America
SUBREGION: Arizona
ETHNICITY: Diné (Navajo)
DESCRIPTION: Ganaskidi Mask
CATALOG ID: NAUS032
MAKER: Unknown
CEREMONY: Yei Bi Chei Dance
AGE: ca. 1970s
MAIN MATERIAL: antelope leather
OTHER MATERIALS: wood; pigment; dyed wool

The Yei Bi Chei (also spelled Yébichai) is a sacred night dance of the Diné (commonly but improperly called Navajo) people of the southwestern United States. The ceremony lasts nine days and has a healing function for tribe members and is generally performed in the winter. The masked dancer personifies the god represented.

Yei Bi Chei masks are always made by skilled medicine men.  In a healing ritual, the patient is sweated, and then songs are sung.  During the singing, the Yei Bi Chei representing the gods treat the patient while calling “wu-hu-hu-hu-u.” The gods represented are speechless and live in sacred caves, mountains and canyons. The male gods wear full leather helmet masks like this one with a ruff of spruce twigs (formerly furs) around the neck.  Female Yei wear square half-masks. Both wear ceremonial regalia and paint their bodies white with clay. On the ninth night, a public dance including six men and six women dance as Yei Bi Chei. There is also a leader, Talking God, and a fourteenth Yei, the Water Sprinkler.  Talking God is distinguished by his white mask with eagle feathers.  The six male Yei carry gourd rattles and spruce twigs or feathers, and make the “hu” call periodically during the dance.

This specific mask represents Ganaskidi, a god of the abundant harvest.

For more on the Yei Bi Chei, see Berard Haile, Head and Face Masks in Navaho Ceremonialism (Salt Lake City: University of Utah Press, 1996).

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TITLE: Santiago Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Veracruz
ETHNICITY: Nahua
DESCRIPTION: Santiago (Saint) Mask
CATALOG ID: LAMX158
MAKER: Lino Mora Rivera (Naolinco de Victoria, 1956- )
CEREMONY: Fiesta de San Mateo (Danza de los Pilatos)
AGE: 2017
MAIN MATERIAL: equimite wood
OTHER MATERIALS: oil-based paint; lacquer; 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 santiago, also called a santiaguero, who is a warrior-disciple of St. James. The santiagos fight the Moors with wooden swords and small shields.

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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TITLE: Flores Island Mask
TYPE: face mask
GENERAL REGION: Oceania
COUNTRY: Indonesia
SUBREGION: Flores Island
ETHNICITY: Ngada
DESCRIPTION: Harvest ceremony mask
CATALOG ID: OCID004
MAKER: Unknown maker near Bajawa, Ngada
FUNCTION: Agriculture; Spirit Invocation
AGE: ca. 1920s-1930s
MAIN MATERIAL: wood
OTHER MATERIALS: ijuk fiber eyebrows; buffalo bone teeth

Little is known about the traditional animist beliefs of the Ngada (also known as Rokka) people of Flores Island. All that is known about this mask is that it was used in harvest ceremonies in a village near Bajawa, probably to invoke a god or spirit to ensure a fruitful harvest.

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TITLE: Moor Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Puebla
ETHNICITY: Nahua
DESCRIPTION: “Cardface” Moor mask in yellow, red and black
CATALOG ID: LAMX154
MAKER: Pedro Sol Sánchez (Tuzamapán de Galeana, 1945- )
CEREMONY: Danza de los Moros y Cristianos
AGE: 2016
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint; hardware

The Danza de los Moros y Cristianos (Dance 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 widely in Mexico, including in Mexico State, Michoacán, Puebla, and Veracruz. Important characters include Spaniards, Moors, saints, angels, and devils. This Moro takes a form typical only in the village of Tuzamapan and is commonly known as an “enamorado” (lover) or “card face” Moor, because the makers there often include symbols from playing cards (hearts, spades, diamonds and clubs). More recently, designs like this one have been inspired by the masks used in the popular lucha libre (wrestling).

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TITLE: Noh Hannya
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Japan
SUBREGION: Gunma Prefecture
ETHNICITY: Japanese
DESCRIPTION: Hannya Mask
CATALOG ID: ASJP021
MAKER: Unknown
CEREMONY: Noh Theater
AGE: 1950s-60s
MAIN MATERIAL: wood
OTHER MATERIALS: paint; brass; gold dust; lacquer; silk string

The Noh theater evolved from a combination of Chinese Nuo opera, popular village entertainment known as Sarugaku, and courtly Bugaku dance to become a uniquely Japanese form of high culture. Noh, or Nōgaku, probably first emerged as a distinct form of theater in the 14th century.  A wide variety of plays developed over the ensuing three hundred or so years, with masked characters playing an important role in most.  The masks require the actors to communicate through posture, body movement, and vocal control, whose perfection requires years of intense training.  Although the masks prevent the actor from using facial expression, the most expertly carved masks can be made to express different emotions at different angles, so that he actor can change facial expression by the tilting his head.

This specific mask represents Hannya, the soul of a female who has become a demon or ghost through jealousy or obsession. The mask is designed to look angry from straight ahead, but sorrowful when tilted downward. Only exceptionally skilled carvers are able to produce a Hannya with the ability to convey both malice and misery.  Light-skinned Hannya like this one denote aristocratic women; red masks indicate peasant women.  All such roles were traditionally played by men.

For more on Noh masks, see the excellent book by Michishige Udaka and Shuichi Yamagata, The Secrets of Noh Masks (Tokyo: Kodansha International , 2010).


To watch a short documentary about Japanese Nogaku (Noh drama and Kyogen plays), click above.

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TITLE: Iatmul Sevi Mask
TYPE: face mask
GENERAL REGION: Oceania
COUNTRY: Papua New Guinea
SUBREGION: Middle Sepik River Region
ETHNICITY: Melanesian (Iatmul)
DESCRIPTION: Sevi mask iwth crocodile tongue
CATALOG ID: OCPG004
MAKER: Unknown
CEREMONY: Protection; Spirit Invocation
AGE: 1980s
MAIN MATERIAL: wood
OTHER MATERIALS: wicker; pigment; plant fiber

Sevi masks like this one may be worn in dances, but they are generally kept on display in the men’s Tambaran House to attract protective spirits.  Masks often refer to a clan totem such as crocodile (as here) or eagle. Sevi masks have extended tongues as a sign of aggression towards enemies of the clan.

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TITLE: Cora Tiznado Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Nayarit
ETHNICITY: Cora
DESCRIPTION: Tiznado (Judio) Mask
CATALOG ID: LAMX074
MAKER: Unknown
CEREMONY: Semana Santa (Holy Week)
AGE: 1970s
MAIN MATERIAL: paper maché
OTHER MATERIALS: watercolor paint

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 character is called tiznado (“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: Chivo Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Guerrero
ETHNICITY: Nahua
DESCRIPTION: Chivo (goat) mask with ixtle fiber headdress
CATALOG ID: LAMX015
MAKER: Unknown maker in San Roque, Mochitlán
CEREMONY: Carnaval de Chivos
AGE: ca. 1960s
MAIN MATERIAL: wood
OTHER MATERIALS: plaster; goat horns; oil paint; dyed ixtle fiber

In parts of Guerrero, multicolored goat masks are worn to celebrate the Carnaval (or Danza) de Chivos.  The goats, almost always played by young men, dance in a group to brass instrument and drum music wearing long headdresses of straw. Some chivos play percussion instruments as they dance.  The dance is usually performed in honor of the patron saint of the village.

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