TITLE: Cherokee War Mask
TYPE: face mask
GENERAL REGION: North America
COUNTRY: United States of America
SUBREGION: North Carolina
ETHNICITY: Cherokee
DESCRIPTION: War mask with snake on head
CATALOG ID: LAUS079
MAKER: Allen Long (Cherokee, North Carolina, 1917-1983)
CEREMONY: Snake Mask Dance
FUNCTION: war preparation
AGE: ca. 1970s
MAIN MATERIAL: wood
OTHER MATERIALS: pigment; leather strap

The Snake-Mask Dance was a dance of the Cherokee people, danced with a gourd rattle and leg-rattles made of turtle shells, performed in preparation for war. It represents the warrior’s fearlessness (wearing a poisonous snake on his forehead) and defiance of human enemies, sorcerers, and ghosts. The purpose of the dance was probably to enlist other men into joining a war party. The warrior danced the mask counter-clockwise around a fire with a slow march step. A singer followed, followed in turn by a woman with turtle leg-rattles and other warriors. The warrior then took a position behind the woman, and the singer led the group in song.

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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TITLE: Babanki Elephant Crest
TYPE: crest mask
GENERAL REGION: Africa
COUNTRY: Cameroon
ETHNICITY: Babanki
DESCRIPTION: Elephant Crest
CATALOG ID: AFCM005
MAKER: Unknown
CEREMONY: Celebration; Funeral
AGE: 1980
MAIN MATERIAL: wood
OTHER MATERIALS: glass beads; dried seeds; wicker

The Babanki people of the Cameroon grasslands are closely related to their neighbors, the Bamileke people, and have similar artistic styles. The Babanki worship ancestral spirits and collect their skulls as the patrimony of the lineage. Babanki 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, or animals, like this one, and are used principally at funerals and annual festivals. The elephant mask is reserved for lineages close to royalty, and the wearer of this mask assumes the second most prestigious position after the human mask.

Babanki masks are typically made of carved wood, sometimes with white kaolin clay coloring. This one is assiduously beaded in the style typical among the Bamileke people.

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TITLE: Apache Ga’an
TYPE: hood and mask; accessories
GENERAL REGION: North American
COUNTRY: United States of America
SUBREGION: Arizona
ETHNICITY: Apache
DESCRIPTION: Ga’an (mountain spirit) mask
CATALOG ID: NAUS036
MAKER: Unknown
CEREMONY: Ga’an Dance
AGE: mid-twentieth century
MAIN MATERIAL: dyed cotton cloth
OTHER MATERIALS: wood; saguaro cactus rib; mirrors; paint

Among the religiously important figures of the Apache are the ga’an, mountain spirits that protect and purify the village. There are various myth stories surrounding the ga’an.  One is that the ga’an were responsible for liberating the animal spirits locked in a cave where Crow had imprisoned them.  Another is that an Apache boy fell into a cave where ga’an spirits resided. When the boy died, he became one of the ga’an and led them to his village, where the ga’an danced to bless and heal the boy’s people.

The ga’an ceremony is performed to drum and song, and begins with the white ga’an, or “messenger,” using a “bull roarer,” or whistle on the end of a string, to create an ethereal sound announcing the start of the dance.  All dancers except the messenger carry wood or yucca spike “swords,” usually with symbols painted on them (shown in the first photo).  The ga’an mask must be prepared by a shaman with great care, and the patterns, glyphs and colors on the crown all have symbolic significance. The messenger’s mask is usually smaller than the others and uses white cloth instead of black.  The mirrors on the crown, a recent addition, flash as the ga’an dance, adding to the dazzling effect.  The small wooden slats that dangle from the mask create a clicking sound characteristic of the ga’an.  The dance is performed at na ih es (girl’s adulthood initiation ritual), to influence the weather, heal the sick, and to purify the village of evil spirits.

Video of the Apache Ga’an Dance, performed in 2019 in Arizona.

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TITLE: Apache Ga’an
TYPE: hood and crown mask
GENERAL REGION: North American
COUNTRY: United States of America
SUBREGION: Arizona
ETHNICITY: Apache
DESCRIPTION: Ga’an (mountain spirit) mask
CATALOG ID: NAUS034
MAKER: Unknown
CEREMONY: Ga’an Dance
AGE: mid-twentieth century
MAIN MATERIAL: dyed cotton cloth
OTHER MATERIALS: wood; saguaro cactus rib; mirrors; paint

Among the religiously important figures of the Apache are the ga’an, mountain spirits that protect and purify the village. There are various myth stories surrounding the ga’an.  One is that the ga’an were responsible for liberating the animal spirits locked in a cave where Crow had imprisoned them.  Another is that an Apache boy fell into a cave where ga’an spirits resided. When the boy died, he became one of the ga’an and led them to his village, where the ga’an danced to bless and heal the boy’s people.

The ga’an ceremony is performed to drum and song, and begins with the white ga’an, or “messenger,” using a “bull roarer,” or whistle on the end of a string, to create an ethereal sound announcing the start of the dance.  All dancers except the messenger carry wood or yucca spike “swords,” usually with symbols painted on them.  The ga’an mask must be prepared by a shaman with great care, and the patterns, glyphs and colors on the crown all have symbolic significance. The messenger’s mask is usually smaller than the others and uses white cloth instead of black.  The mirrors on the crown, a recent addition, flash as the ga’an dance, adding to the dazzling effect.  The small wooden slats that dangle from the mask create a clicking sound characteristic of the ga’an.  The dance is performed at na ih es (girl’s adulthood initiation ritual), to influence the weather, heal the sick, and to purify the village of evil spirits.

Video of the Apache Ga’an Dance, performed in 2019 in Arizona.

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TITLE: Tibetan Shaman Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: China
SUBREGION: Tibet
ETHNICITY: Tibetan
DESCRIPTION: Shaman mask of three-toothed spirit
CATALOG ID: ASCN006
MAKER: Unknown
CEREMONY: Divination; Healing; Purification; Spirit Invocation
AGE: Unknown
MAIN MATERIAL: wood
OTHER MATERIALS: pigment

Shamanic masks arise from animistic religious beliefs rather than Hindu or Buddhist influences.  The shamanic influence in Himalayan societies probably arrived from Mongolian nomadic invaders.  The aspiring shaman must depart the community and live in isolation to commune with nature spirits. If the aspirant succeeds, he or she returns to the village with supernatural powers to invoke ancestor and nature spirits that can be either malevolent or protective and turn them to the good of the community.  This gives the shaman healing and divination powers that are used in major life events, such as births, illness, marriage, or death.  Masks are worn during these ceremonies to help the shaman mediate between the material and spiritual worlds.

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TITLE: Yaure Lo Mask
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Côte d’Ivoire (Ivory Coast)
ETHNICITY: Yaure
DESCRIPTION: Lo mask with drum player figure
CATALOG ID: AFCI011
MAKER: Unknown
CEREMONY: Je Ceremony
AGE: ca. 2005-10
MAIN MATERIAL: wood
OTHER MATERIALS: kaolin clay; pigment

The Yaure people of Côte d’Ivoire are avid and skilled wood carvers. They have two main types of masks, the yu spirit and the lo spirit, and both are used in the Je Ceremony at funerals.  The yu masqueraders dance first to convert the dangerous yu spirit from a threat to the village into its protector. Lo masks like this one are danced last and help release the spirit of the dead for its journey to the next world. Unlike the brightly painted yu masks, lo masks are left dark.

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TITLE: Djimini Do Society Mask
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Côte d’Ivoire (Ivory Coast)
ETHNICITY: Senufo (Djimini)
DESCRIPTION: Triple-Faced Mask
CATALOG ID: AFCI004
MAKER: Unknown
CEREMONY: Celebration; Funeral
AGE: ca. 1990s
MAIN MATERIAL: wood
OTHER MATERIALS: n/a

The Djimini people are a subgroup of the much larger Senufo people and reside primarily in Côte d’Ivoire, with some also living in Burkina Faso and Mali. The Do Society dances masks of various kinds, frequently employing animal elements, at the funerals of important members of the village and on major Islamic holidays.

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TITLE: Baule Kplekple
TYPE: plank mask
GENERAL REGION: Africa
COUNTRY: Côte d’Ivoire (Ivory Coast)
ETHNICITY: Baule
DESCRIPTION: Kplekple Male Plank Mask
CATALOG ID: AFCI008
MAKER: Unknown
CEREMONY: Goli Society
FUNCTION: agricultural; celebration; entertainment; funeral; secret society; spirit invocation
AGE: ca. 1990s
MAIN MATERIAL: wood
OTHER MATERIALS: kaolin clay; pigment

The Baule people of Côte d’Ivoire use many kinds of cultural masks and are known for the artistry and skill of their carvers. Several mask types are used in the Goli Festival, a day-long harvest celebration with music and feasting, where the masked dancers are members of the Goli Society and serve the primary function of entertainment. This mask is danced at the beginning of the Goli Festival by young boys. It is also worn at funerals to honor important personages in the village, and during droughts and famines to pray for rain and abundant harvests.

The kplekple dancers perform in pairs, usually with one male (primarily black) and one female (primarily red) mask. This mask is male. Kplekple dancers wear a suit of plant fiber that covers the entire body, an animal pelt on the back, and metal anklets that jingle as the dancer moves. The dance itself progresses from wild and aggressive, mimicking the putative behavior of bush spirits and young tribe members, to more sedate, mimicking the transition to maturity and civilization.

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TITLE: Baule Ram
TYPE: crest mask
GENERAL REGION: Africa
COUNTRY: Côte d’Ivoire (Ivory Coast)
ETHNICITY: Baule
DESCRIPTION: Kuamanbo (Ram) Helmet Mask
CATALOG ID: AFCI009
MAKER: Unknown
CEREMONY: Goli Festival
AGE: ca. 1970s
MAIN MATERIAL: wood
OTHER MATERIALS: paint; pigment

The Baule people of Côte d’Ivoire use many kinds of cultural masks and are known for the artistry and skill of their carvers. Several mask types are used in the Goli Festival, a day-long harvest celebration with music and feasting, where the masks are used for entertainment. This mask, worn atop the head, is also used to invoke the kuamanbo, a ram spirit that blesses the crops.

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TITLE: Halloween Wolf Mask
TYPE: face mask
GENERAL REGION: North America
COUNTRY: United States of America
ETHNICITY: Mixed
DESCRIPTION: Buckram black wolf mask
CATALOG ID: NAUS006
MAKER: Unknown
CEREMONY: Halloween
AGE: ca. 1930s
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 wolf, 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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