TITLE: Nuna Antelope Mask
TYPE: crest mask
GENERAL REGION: Africa
COUNTRY: Burkina Faso
ETHNICITY: Nuna
DESCRIPTION: Roan antelope mask
CATALOG ID: AFBF004
MAKER: Unknown
CEREMONY: Adult Initiation; Divination; Entertainment; Funeral; Purification; Spirit Invocation
AGE: ca. 1990s
MAIN MATERIAL: wood
OTHER MATERIALS: kaolin; pigment; dyed plant fibers

The Nuna and related Nunuma people inhabit Burkina Faso and share with their neighbors, the Bwa and Winiama peoples, a highly geometrical masking style.  There are two major types of masks used by the Nuna peoples. Sacred masks (wankr) are said to have descended from the sky and are danced with weapons in their hands in important ceremonies only.  When not being worn, they are used as sacrificial altars. Revealed masks dance only on ritual occasions.

Other masks (wamu), such as this one, are created by villagers for specific purposes.  Animal masks are danced in mimicry of the animal itself.  Unlike wankr dancers, wamu dancers carry only whips and are mainly used for entertainment and funerals.

All masks may be used for spirit invocation, boys initiation ceremonies, village purification, or divination.

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TITLE: Nuna Hornbill Mask
TYPE: crest mask
GENERAL REGION: Africa
COUNTRY: Burkina Faso
ETHNICITY: Nuna
DESCRIPTION: Horanbill Mask
CATALOG ID: AFBF002
MAKER: Unknown
CEREMONY: Adult Initiation; Divination; Entertainment; Funeral; Purification; Spirit Invocation
AGE: 1990s
MAIN MATERIAL: wood
OTHER MATERIALS: kaolin; pigment

The Nuna and related Nunuma people inhabit Burkina Faso and share with their neighbors, the Bwa and Winiama peoples, a highly geometrical masking style.  There are two major types of masks used by the Nuna peoples. Sacred masks (wankr) are said to have descended from the sky and are danced with weapons in their hands in important ceremonies only.  When not being worn, they are used as sacrificial altars. Revealed masks dance only on ritual occasions.

Other masks (wamu), such as this one, are created by villagers for specific purposes.  Animal masks are danced in mimicry of the animal itself.  Unlike wankr dancers, wamu dancers carry only whips and are mainly used for entertainment and funerals.

All masks may be used for spirit invocation, boys initiation ceremonies, village purification, or divination.

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TITLE: Mah Meri Moyang Jantong
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Malaysia
ETHNICITY: Orang Asli (Senoi)
DESCRIPTION: Moyang Jantong (Banana Plant Spirit) Mask
CATALOG ID: ASMY001
MAKER: Unknown
CEREMONY: Celebration; Spirit Invocation
AGE: 1970s
MAIN MATERIAL: blackboard wood
OTHER MATERIALS: metal; cotton string

The Mah Meri tribe belongs to the Senoi people, one of the indigenous peoples (Orang Asli) of Malaysia. They have traditionally carved masks from the wood of the blackboard tree (Alstonia scholaris) for use in celebrating festive occasions, such as weddings. The masks embody benevolent spirits that, in the animistic pantheon of the Mah Meri, are used to drive away evil, soul-stealing spirits.  This mask, Moyang Jantong, represents the spirit of the banana plant, an important source of food to the Mah Meri.

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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: 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: Kwele Antelope
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Democratic Republic of Congo
ETHNICITY: Kwele
DESCRIPTION: Antelope spirit mask
CATALOG ID: AFCD016
MAKER: Unknown
CEREMONY: Be’ete Society
AGE: 1990s
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 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 is more naturalistic than most Kwele antelope masks. More commonly, the masks are highly abstract, flat (plank-shaped), and with slit eyes.

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TITLE: Bamileke Monkey
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Cameroon
ETHNICITY: Bamileke
DESCRIPTION: Monkey Mask
CATALOG ID: AFCM007
MAKER: Unknown
CEREMONY: Agriculture; Celebration; Funeral; Status
AGE: 1970s-1980s
MAIN MATERIAL: wood
OTHER MATERIALS: pigment

The Bamileke people of the Cameroon grasslands are closely related to their neighbors, the Babanki and Bamoun peoples, and have similar artistic styles. The Bamileke society is highly stratified by lineage, with certain royal lineages exclusively entitled to wear certain masks.  Lineage masks may represent persons, such as the kam, ngoin, or animals, and are used principally at funerals and annual harvest festivals. The kam mask is reserved for royalty and is the highest ranking mask, with ngoin, his wife, also highly ranked. Animal masks like this one are open to non-royal lineages to use, except for the exalted elephant mask.

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TITLE: Bamileke Kam Crest
TYPE: crest mask
GENERAL REGION: Africa
COUNTRY: Cameroon
ETHNICITY: Bamileke
DESCRIPTION: Kam crest mask
CATALOG ID: AFCM006
MAKER: Unknown
CEREMONY: Agriculture; Celebration; Funeral; Status
AGE: 1980
MAIN MATERIAL: wood
OTHER MATERIALS: glass beads; adhesive; yarn

The Bamileke people of the Cameroon grasslands are closely related to their neighbors, the Babanki and Bamoun peoples, and have similar artistic styles. The Bamileke society is highly stratified by lineage, with certain royal lineages exclusively entitled to wear certain masks.  Lineage masks may represent persons, such as the kam, ngoin, or animals, and are used principally at funerals and annual festivals for the harvesting of crops. The kam mask is reserved for royalty and is the highest ranking mask, with ngoin, his wife (whose mask is similar but in a helmet shape), also highly ranked.

Bamileke masks are typically made of carved wood, sometimes with white kaolin clay coloring. This one is assiduously beaded, which indicates the high status of the wearer, as beads and brass are materials reserved to chiefs and their kin.

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TITLE: Tío Supay
TYPE: helmet mask
GENERAL REGION: Latin America
COUNTRY: Bolivia
SUBREGION: Oruro
ETHNICITY: Quechua and Aymara
DESCRIPTION: Tío Supay (Uncle Supay) Mask
CATALOG ID: LABO013
MAKER: Unknown
CEREMONY: Carnival
AGE: 1970s
MAIN MATERIAL: tin sheet
OTHER MATERIALS: glitter; dyed plant fiber; oil paint; foam rubber; LED lights and wiring

The Tío Supay (Uncle Supay) is the Incan god of death, whose worship predates the Spanish conquest. Incans and their descendants, the Quechua and Aymara peoples, prayed and made offerings to Supay to propitiate him. In most mines in the Bolivian and Peruvian Altoplano, a figure of Tío Supay would be seated deep in the shaft, and cigars, cigarettes, alcohol, food, and other offerings are left for him to protect the miners.

The Catholic colonizers objected to Supay, viewing the offerings as Devil worship, and so Supay came to be identified with the Christian Satan. His appearance morphed to resemble the Catholic Devil myth, and he plays the role of a demon opposed to the Archangel Michael in the Carnival parades of Oruro. Nonetheless, the worship of Supay continues, and most Aymara people deny any connection between Supay and the Catholic Devil.

This specific mask was made in the 1970s by a caretero (mask maker) in the Calle de los Andes, La Paz for use in the Oruro Carnival. Later, LED lights were added to the eyes with silicon glue in the 2000s to make the mask light up at night.

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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