TITLE: Vampiro (Diablo)
TYPE: mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Michoacán
ETHNICITY: Purépecha
DESCRIPTION: Vampiro-Diablo (vampire-devil) mask
CATALOG ID: LAMX053
MAKER: Federico Eduardo Sierra Morales (Tocuaro)
CEREMONY: Pastorela
AGE: 2015
MAIN MATERIAL: wood
OTHER MATERIALS: paint

The Pastorela drama of Michoacán reenacts the the mythical journey of the three wise men to visit Jesus of Nazareth at his birth.  It is commonly performed around Christmastime and involves several masked characters, including hermits, Maringuilla (Mary), comic characters, and the Diablo (Devil). The Devil plays a key dramatic role as he attempts to impede the wise men from reaching Bethlehem.

The maker of this specific mask, master artisan Federico Sierra of Tocuaro, chose to name this mask Vampiro (vampire), but it represents the Devil character in the play.

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TITLE: Chokwe Bird Mask
TYPE: crest mask
GENERAL REGION: Africa
COUNTRY: Angola
ETHNICITY: Chokwe
DESCRIPTION: Bird Initiation Mask
CATALOG ID: AFAO001
MAKER: Unknown
CEREMONY: Initiation; Spirit Invocation
AGE: ca. 1980s-1990s
MAIN MATERIAL: wood
OTHER MATERIALS: 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. Animal masks like this one are used most often in initiation rituals to recount tribal stories and proverbs to teach young adults social mores and customs. They are also used in preparation for hunting in order to invoke the spirit of the sharp-eyed bird. The articulated jaw adds realism to the performance by allowing the masquerader to mimic the bird’s beak movements.

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TITLE: Baga Ancestor Mask
TYPE: helmet mask
GENERAL REGION: Africa
COUNTRY: Guinea
ETHNICITY: Baga
DESCRIPTION: Ancestor mask with large figure on head
CATALOG ID: AFGN001
MAKER: Unknown
CEREMONY: Unknown
AGE: ca. 1940s
MAIN MATERIAL: wood
OTHER MATERIALS: N/A

The Baga people of the Guinea swamp lands traditionally maintained animist beliefs revolving around a creator god named Kanu, until most were converted to Islam following the introduction of colonialism in West Africa. For a period, the Baga mingled Islamic with animist traditions.  They were governed by traditional lineages and the Simo Initiation Society.  Their best known masks from this period were relatively abstract. Large shoulder masks (N’mba) representing women, and or tall snake spirits (Bansonyi) were used in Simo Society initiation rituals, funerals, weddings, and other major social events.

At independence in 1958, the new Islamic-Marxist Guinea government tried to extinguish Baga cultural identity, and masking traditions all but disappeared until 1984, when a coup liberalized the country. Many members of Baga society began reintroducing animist rituals, but much of the old culture has been lost. Virtually nothing is known about ancestor masks such as this one.

For more on Baga masking traditions, see Frederick Lamp, Art of the Baga: A Drama of Cultural Reinvention (New York: Museum for African Art, 1996).

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TITLE: Waq’ollo Mask for Alcalde
TYPE: hood mask
GENERAL REGION: Latin America
COUNTRY: Peru
ETHNICITY: Quechua
DESCRIPTION: White llama wool Waq’ollo for Alcalde (Mayor) of the Qhapaq Q’olla
CATALOG ID: LAPE001
MAKER: Unknown
CEREMONY: Qoyllur Rit’i; Corpus Christi
AGE: 1940s
MAIN MATERIAL: dyed and knitted lama wool
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, as here; 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: Halloween Skeleton Mask
TYPE: face mask
GENERAL REGION: North America
COUNTRY: United States of America
ETHNICITY: Mixed
DESCRIPTION: Buckram skull mask
CATALOG ID: NAUS022
MAKER: Unknown
CEREMONY: Halloween
AGE: 1940s
MAIN MATERIAL: dyed 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 and costumes depicting offensive racial stereotypes, popular prior to the 1980s, are no longer widely used.

This specific mask, representing a skull, was made from dyed 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: Kwele Ekuk
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Gabon
ETHNICITY: Kwele
DESCRIPTION: Ekuk Plank Mask
CATALOG ID: AFGA002
MAKER: Unknown
CEREMONY: Be’ete Society
FUNCTION: Adult Initiation; Funeral; Protection; Spirit Invocation
AGE: 2015
MAIN MATERIAL: wood
OTHER MATERIALS: kaolin clay

The Kwele, also known as Kwese, people of Gabon and the Democratic Republic of Congo now live between the Dja and Ivindo rivers. Social control is exercised by the Be’ete (or Bwete) Secret Society, which uses masks to adult initiation rituals, funerals, and protection of the village from malicious spirits.  The masks embody protective bush spirits, with the antelope a dominant presence among them.  Kaolin clay is nearly always used in Kwele masks, because its white color has spiritual meaning to the Kwele.

This specific mask represents an ekuk, or forest spirit.

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TITLE: Halloween Darth Vader
TYPE: helmet mask
GENERAL REGION: North America
COUNTRY: United States of America
ETHNICITY: Mixed
DESCRIPTION: EFX A New Hope Limited Edition Darth Vader Mask
CATALOG ID: NAUS040
MAKER: Ralph Angus McQuarrie (Gary, Indiana, 1929-2012) & Brian Muir (England, 1952- ) (design); EFX Inc. (Los Angeles, California) (manufacture)
CEREMONY: Halloween; Entertainment
AGE: 2012 (original design, 1975)
MAIN MATERIAL: molded fiberglass
OTHER MATERIALS: aluminum; plastic; paint

Motion pictures have had a dramatic effect on culture in the United States.  Masks and costumes from motion pictures are common during Halloween celebrations, costume parties, and costume events such as Comic-Con, annual international festivals celebrating comic books and related popular culture.

This mask is a replica of the mask worn by actor David Prowse playing the sinister Sith lord Darth Vader (voiced entirely by James Earl Jones) in the first Star Wars movie, A New Hope, first screened in 1977. The Darth Vader character quickly became one of the most popular villains of the era and an iconic image, inspiring toys, games, and Halloween costumes.

The original mask was sculpted by Brian Muir based on concept art by Ralph McQuarrie. Although the original mask molds appear to be lost, Rick Baker cast new molds from the screen-used helmet, and these were used to cast this wearable mask, which was then hand finished with airbrushed paint, hardware, and plastic lenses.

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

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TITLE: Señor de Naranja Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Michoacán
ETHNICITY: Purépecha
DESCRIPTION: Señor de Naranja (Lord of Naranja)
CATALOG ID: LAMX071
MAKER: Victoriano Salgado Morales (1920-2012, Uruapan)
CEREMONY: Danza del Señor de Naranja
AGE: 1980
MAIN MATERIAL: wood
OTHER MATERIALS: plaster; tin; maque paint; brass bells; polyester ribbons; steel hardware

The Señor de Naranja (Lord of Naranja) is an historical figure of the country of Zacapu, Michoacán. “Naranja” means orange in Spanish, but the term in this context is actually a corruption of the Purépecha “Naranxan,” the name of a region where the town Naranja de Tapia is now located. The character apparently represents the historical cacique or chief of the region, Ziranzirancámaro, around 1200 CE, and the dance retells the history of the Purépecha settlement of Michoacán.

According to the legend, a tribe of Purépecha people called the “Eagles” arrived in the mountains and demanded that the Señor de Naranja bring them incense and wood to burn on the altar of their fire god, Curicaveri. Over the opposition of his people, the Señor sent the offerings, as well as his sister to wed the leader of the Eagles (Ireticatame) and bear him a son, Sicuirancha, who eventually conquered Naranxan and Cumachen. The dance commemorates these events.

This mask was made by the renowned Victoriano Salgado, who was awarded the Michoacán State Eréndira Prize for the Arts in 2012, the year of his death.

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TITLE: Coyote Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Chichicastenango
ETHNICITY: Mayan (K’ich’e)
DESCRIPTION: Black wood coyote mask
CATALOG ID: LAGT038
MAKER: Ángel Ordoñez Ventura (Chichicastenango, 1979- )
CEREMONY: Baile de los Animalitos
AGE: ca. 1910
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint

The Baile de los Animalitos (Dance of the Little Animals), also called the Baile de los Animales, is an annual ceremony in several cities of central and southern Guatemala, usually during a holiday in honor of the town’s patron saint. The dance involves an angel, a hunter, and many different kinds of animals, including the coyote.  The dance probably predates the Spanish conquest, and involves many speeches by the animals relating to their characteristics, their role in the ecosystem, and (since colonization) their anomalous praise of the Virgin Mary. The hunter no longer hunts the animals in the modern rendition. After the speeches, they all dance to a marimba band.

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

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TITLE: Noh Ko-Omote
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Japan
ETHNICITY: Japanese
DESCRIPTION: Ko-Omote Onna-Men Mask
CATALOG ID: ASJP023
MAKER: Unknown maker in Gunma Prefecture
CEREMONY: Noh Theater
AGE: 1950s-60s
MAIN MATERIAL: wood
OTHER MATERIALS: paint; 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 Ko-Omote, the naive young girl. Noh theater has many types of Onna-men (female masks), often with subtle variations in expression.  The Ko-Omote is probably the best known. 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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