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Cherokee Booger

TITLE: Cherokee Booger
TYPE: face mask
GENERAL REGION: North America
COUNTRY: United States of America
SUBREGION: North Carolina
ETHNICITY: Cherokee
DESCRIPTION: Booger mask
CATALOG ID: NAUS080
MAKER: Luther “Toby” Hughes (Westville, Oklahoma)
CEREMONY: Booger Dance
AGE: 1994
MAIN MATERIAL: cedar wood
OTHER MATERIALS: horsehair; pigment; leather straps

In the Eastern Cherokee Nation, the booger (tsu’nigadu’li) dance forms an important part of the winter celebration to discourage evil spirits from disrupting the coming growing season.  The boogers themselves represent the evil spirits, and they traditionally portrayed grotesque faces seeking to fight, chase women, and create general havoc. Following colonization, the booger dancers focused their misdeeds especially on satirizing the insolence, foolishness, and lust of European colonists toward the Cherokee women.

Booger masks could be made of wood, gourds, or carved wasp nests. This mask was made by Luther “Toby” Hughes, a member of the Keetowah Band who was designated a Living National Treasure in 1994, the same year this mask was made.

For more on Cherokee masked dance, see Frank G. Speck & Leonard Broom, Cherokee Dance and Drama (University of Oklahoma Press 1951).

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Yao Shaman Mask

TITLE: Yao Shaman Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: China
SUBREGION: Yunnan
ETHNICITY: Yao
DESCRIPTION: Shamanic Mask
CATALOG ID: ASCN011
MAKER: Unknown
CEREMONY: Shamanic rituals
FUNCTION: healing; hunting; protection; spirit invocation
AGE: ca. 1910s
MAIN MATERIAL: charred wood
OTHER MATERIALS: N/A

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.

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Cojó Mask

TITLE: Cojó Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Tenosique, Tabasco
ETHNICITY: Mayan (Yokot’anob / Chontal)
DESCRIPTION: Orange, green and white Cojó mask
CATALOG ID: LAMX136
MAKER: Unknown maker in Tenosique
CEREMONY: Danza Correr del Pochó
AGE: ca. 1970s
MAIN MATERIAL: cedar wood
OTHER MATERIALS: oil-based paint

During Carnival and the saint’s holiday of Tenosique, local Mayan people perform La Danza Correr del Pochó, or less formally, El Pochó.  El Pochó is a pre-Christian god that the missionaries tried to characterize as evil.  As a result, modern festivals end in the defeat and burning of Pochó. The Danze del Pochó has three main characters: cojóes, the pochoveras, and the tigres.  They dance to the music of native flutes and drums.

Cojóes are men who represent the first Chontal people, created from the pulp of maize. They are the only participants to wear masks. The cojó masks, such as this one, are always made of wood and, in the modern style, have a distinct streamlined profile with a sloping nose. The reason for the mask is said to be that Pochó immediately considered human beings his enemy, and so the Mayans wore masks so that Pochó could not recognize them. The costume consists of a coarse coat, a cloth mantle, a skirt of leaves, and a straw hat decorated with large leaves, flowers, and chewing gum boxes. They carry a long rattle shaped like a thick stick filled with changala seeds.

The pochoveras are priestesses of the god Pochó and keep a fire burning on his alter. Pochoveras also wear a hat with leaves and flowers.

The tigres, called balandes in the Chontal language, are masked characters who paint their body with white clay and black spots made of coal to simulate the jaguar pelt. They may also wear an animal skin. The role of the tigres is to attack the cojóes with the help of the pochoveras, on behalf of Pochó. However, the cojóes inevitably win, defeating the tigres and extinguishing Pochó’s fire.

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Tigre Crest

TITLE: Tigre Crest
TYPE: crest mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Guerrero
ETHNICITY: Nahua
DESCRIPTION: Tigre (Jaguar) Crest Mask
CATALOG ID: LAMX025
MAKER: Jorge Garcías (Olinalá)
CEREMONY: Batalla de los Tigres (Tecuanis)
AGE: 2015
MAIN MATERIAL: wood
OTHER MATERIALS: boar hair; paint

In Guerrero, Mexico, the Batalla de los Tigres (Tiger Battles) are today part of the Catholic feast day of the Holy Cross, but its origins probably reach back into the pre-conquest era worship of a jaguar god (notwithstanding the name and appearance of the mask, there are no tigers in any part of the Americas). Indeed, in many parts of Guerrero, the dancers are referred to as tecuani, the Nahuatl word for jaguar (literally, “man-eater”).  The modern dance is used to summon rain for the spring planting season.  The jaguars engage in a fierce battle, striking each other with knotted ropes. They are sometimes referred to as “machos.”

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Kusillo Mask and Costume

TITLE: Kusillo Mask and Costume
TYPE: hood mask; costume
GENERAL REGION: Latin America
COUNTRY: Peru
SUBREGION: Puno
ETHNICITY: Aymara; Quechua
DESCRIPTION: Kusillo mask and costume
CATALOG ID: LAPE009
MAKER: Unknown maker in Puno
CEREMONY: Agriculture/Hunting; Carnival
AGE: 1980s
MAIN MATERIAL: dyed wool felt
OTHER MATERIALS: yarn; cardboard; sequins; cotton batting

The kusillo is an Andean clown character that combines attributes of an insect, shepherd, and devil, although he is considered a benevolent trickster. It is one of the oldest masked characters in the region, predating the Spanish conquest. It is used in both Bolivia and Peru as a comic dancer, as well as a promoter of fertility during agricultural and hunting rites. Until the 1960s, the kusillos formed their own dance group, however, with their own music and group choreography. In modern times, he makes his appearance alone or in pairs during Carnival, along with the waka tokhoris or other groups, and sometimes at other festivities as well.

The upturned nose and appendages on the head are thought to be phallic symbols, expressing the kusillo‘s nature as a promoter of fertility. In addition, the kusillo tries to seduce girls in the crowd, reflecting both his fertility and trickster roles.  To facilitate this behavior, socially unacceptable otherwise, he wears white gloves and long pants to prevent recognition.

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Iban Shaman Mask

TITLE: Iban Shaman Mask
TYPE: face mask
GENERAL REGION: Oceania
COUNTRY: Malaysia
SUBREGION: Borneo (Sarawak)
ETHNICITY: Dayak (Iban)
DESCRIPTION: Shaman Mask
CATALOG ID: OCMY001
MAKER: Unknown
CEREMONY: Unknown
FUNCTION: Agriculture; Purification
AGE: 1930s
MAIN MATERIAL: wood
OTHER MATERIALS: natural pigment

Not much is known about the masked ceremonies of the Iban people of Sarawak, Borneo Island. This mask dates to the 1930s, possibly earlier, and represents a demon.  It has affinities to the masks of other Dayak peoples elsewhere on Borneo. Such masks were most probably used to drive away evil spirits from the village during important ceremonies, such as funerals, and from crop fields.

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Old Man Mask

TITLE: Old Man Mask
TYPE: face mask
GENERAL REGION: Europe
COUNTRY: Moldova
ETHNICITY: Romanian-Moldovan
DESCRIPTION: Bătrânească (Old Man) Mask
CATALOG ID: EUMO001
MAKER: Unknown
CEREMONY: Campanesti; Mastile; Carnival
FUNCTION: Agriculture; Celebration; Hunting; Protection/Purification
AGE: 1980s
MAIN MATERIAL: wood
OTHER MATERIALS: sheep’s wool; cow horns; paint; hardware

In Romanian and Moldovan folk traditions, many kinds of masks are used at planting time and during the celebrations of Lent prior to Christmas, and during Carnival.  Some are used for caroling, while others originate in pre-Christian rituals of appeasing the gods for a rainy spring, bountiful harvest, or successful hunt.  Only men may wear such masks.  This mask represents an old man (Bătrânească) and is a popular Carnival character.

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Bamana Chi Wara

TITLE: Bamana Chi Wara
TYPE: crown mask
GENERAL REGION: Africa
COUNTRY: Mali
ETHNICITY: Bamana (Bambara)
DESCRIPTION: Chi Wara Segu Crest
CATALOG ID: AFML012
MAKER: Unknown
CEREMONY: Agriculture; Initiation; Social Control; Status
AGE: Late 20th century
MAIN MATERIAL: wood
OTHER MATERIALS: brass plating; animal hair; leather; dyed cotton pompoms; cotton string

The Bamana people, sometimes called Bambara, are one of the largest ethnic groups in Mali. They have six major secret societies of different levels of prestige that conduct adult initiation rituals. Initiates are taught survival skills, social customs, and religious principles. The Chi Wara Society dances using crest masks only and teaches social values and agricultural techniques.

The Chi Wara itself typically takes the form of a roan antelope crossed with a human. The character itself is supposed to represent a culture hero born of the sky goddess (Mousso Koroni) and an earth god in the shape of a cobra. The Chi Wara taught the Bamana to sow and harvest crops.

There are four major kinds of Chi Wara: the Bougouni Southern; the Segu Northern; the Bamako Northern; and the Sikasso. This specific mask represents the third style of Chi Wara, the Bamako from the northern region, and depicts a male.

The Chi Wara is danced in male and female pairs, with each wearing a full suit of raffia fiber and the crest mounted on a basket (as here) that sits atop the dancer’s head. The male dancer leads, leaping like an antelope and scratching the ground with a staff to illustrate the teaching of agriculture. The female follows behind and fans the male to spread his powers to the village.

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Baka Luma Mask

TITLE: Baka Luma Mask
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Cameroon
ETHNICITY: Baka
DESCRIPTION: Luma mask of an antelope spirit
CATALOG ID: AFCM008
MAKER: Unknown
CEREMONY: Celebration; Hunting
AGE: early 1970s
MAIN MATERIAL: wood
OTHER MATERIALS: pigment; kaolin clay

The Baka people of Cameroon, Central African Republic, Congo, and Gabon are also known as Bayaka people. They are semi-nomadic hunter-gatherers, formerly known as “pygmies.”  They maintain an animistic religion based on an omnipresent forest spirit named Jengi and a supreme god named Komba.

After a successful hunt, the Baka chant songs of thanksgiving to Jengi to the beat of a drum in a ritual called Luma.  Some masked dancers in raffia fiber suits represent forest animals, such as this one. One will appear fully covered in a woolly suit of red raffia, with nothing else showing, to represent Jengi.  The Baka do not make very extensive use of wooden masks, and so they are rarely seen.

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Batak Karo Gundala

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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