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Shamanic Mask

TITLE: Shamanic Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Nepal
SUBREGION: Middle Hills
ETHNICITY: Gurung or Magar
DESCRIPTION: Shamanic Mask
CATALOG ID: ASNP009
MAKER: Unknown
CEREMONY: Healing; Purification
AGE: mid-twentieth century
MAIN MATERIAL: charred wood
OTHER MATERIALS: N/A

This mask originates in the middle hills area of the Himalaya mountains, either from the Gurung or Magar people. Such masks are among the most primitive in use in the world, and are made by carving wood, coating it with yak butter fat, and charring it over a smoky fire.

The shaman plays an important social role as the channeler of spirits for healing, purification, and protection of those under his supervision. Masks help the shaman embody one of the spirits that surround the living world and use it to heal the sick, drive away evil influences, and guide villagers through changes in their lives (birth, adulthood, changes in social status, death) that might be affected by the spirit world. When hung in a house, the mask serves a protective function.  The Magar and Gurung people use very similar masks for identical purposes.

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Kyōgen Usobuki

TITLE: Kyōgen Usobuki
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Japan
ETHNICITY: Japanese
DESCRIPTION: Usobuki Kyodomen Mask
CATALOG ID: ASJP018
MAKER: Unknown
CEREMONY: Kyōgen Dance Drama
AGE: Unknown
MAIN MATERIAL: wood
OTHER MATERIALS: horsehair; paint; lacquer

Kyōgen is a popular form of Japanese theater. It was traditionally used in village plays and developed alongside Noh theater, where it was performed at intermissions.  Unlike Noh, which tends to have serious themes, the kyōgen generally takes the form of comedic plays.

The usobuki (sometimes transliterated usofuki) (“air blower”) is a comical character who appears to be blowing mightily. It is commonly thought to derive from a folk story about a boy named Hyottoko, who could produce gold from his belly button.  It is used in different plays to represent a wide variety of roles, including a sinner on his way to the underworld, a scarecrow, insect spirits, and even plant spirits.


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

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Leyak Mata Besik

TITLE: Leyak Mata Besik
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Indonesia
SUBREGION: Bali
ETHNICITY: Balinese
DESCRIPTION: Leyak Mata Besik
CATALOG ID: ASID023
MAKER: Ida Ketut Berati (Singapadu, 1967- )
CEREMONY: Calonarang Dance Drama
AGE: 2013
MAIN MATERIAL: pule wood
OTHER MATERIALS: oil paint; horsehair; gold-plated silver; semi-precious stones; string; rubber strap

The Calonarang dance drama centers around the character known as Rangda (also called Calonarang), who is the queen of witches and represents the Hindu goddess of death, Durga. Each village in Bali has a temple honoring the dead, dedicated to Durga. A performance of Calonarang is rare today, but it may commemorate the anniversary of a temple, or it may be used to purify a village if a disease epidemic appears. Rangda challenges the local witches (leyak) to a display of power, and if she prevails, they must stop inflicting ills on the village. Calonarang also serves to educate about Indonesian history and entertain the audience.

Rangda has a number of leyak followers. They are believed to haunt graveyards, devour corpses, and have the power to fly and morph themselves into animals. This specific mask represents Leyak Mata Besik, a witch who has studied black magic under Rangda’s tutelage. The mask was carved and painted by the master craftsman I. Ketut Berati of Singapadu.

For more on Balinese masks, see Judy Slattum, Masks of Bali: Spirits of an Ancient Drama (San Francisco: Chronicle Books, 1992).

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Nonchi Akka Mask

TITLE: Nonchi Akka Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Sri Lanka
ETHNICITY: Sinhalese
DESCRIPTION: Nonchi Akka (crazy old lady) mask
CATALOG ID: ASLK001
MAKER: Unknown
CEREMONY: Kolam Natima
AGE: ca. 1940s
MAIN MATERIAL: kadura (Strychnox nux vomica) wood
OTHER MATERIALS: paint

The masked dance of Sri Lanka developed from shamanic healing and purification rituals, and  split along two lines.  The first, Yakun Natima, is the healing dance performed by a shaman.  Each demon (yakku) represents a specific disease or ailment, and to invoke the demon, the shaman wears a mask depicting the symptoms or symbols of the disease. When performing as a group, a character known as Kola Sanni Yakka, who is a kind of amalgamation of all diseases, presides over the demons.

The second line, Kolam Natima is a storytelling dance drama involving 40 masked characters of very diverse types. The story originates in a myth of a pregnant Sinhalese queen who develops a craving to see masked dances. She begs her husband, the king, to arrange it, but he knows of no such dances. At his request, the god Sekkria, one of the four guardian gods, carves the masks and teaches the people how to perform the dance. They perform for the royal audience, and the baby is consequently born strong and healthy. The stories told with the masks are not a single cohesive narrative, but a series of stories that merge Sinhalese folk traditions with Buddhist Jataka stories, which tell of the former lives of the Buddha.

A Kolam Natima performance begins with ritual addresses to gods and the Buddha. What follows is a prologue showing brief stock, mostly comical, scenes from traditional Sri Lankan society.  Finally, the king and the queen in very large masks enter with their retinue, whence they watch the dance.  The performance ends with the dance, typically involving Gara demons, Nagas (snake demons) and the Garuda (a Naga-eating god-bird) who were eventually reconciled by the Buddha. The performance is intended to purify the village and to spread prosperity.

This mask represents the comical servant Nonchi Akka, often used in traditional kolam to amuse the audience with punning dialogue.

For more on the masks of Sri Lanka, see Alain Loviconi, Masks and Exorcisms of Sri Lanka (Paris: Éditions Errance, 1981).

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Kali Mask

TITLE: Kali Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Nepal
ETHNICITY: Tharu
DESCRIPTION: Kali (Durga) Mask
CATALOG ID: ASNP008
MAKER: Unknown
CEREMONY: Mahabharata Dance Drama
AGE: ca. 1960s
MAIN MATERIAL: hardwood
OTHER MATERIALS: paint

The Mahabharata is an ancient Hindu religious text that tells epic stories of heroes, gods, and demons from India’s storied past. The Mahabharata has inspired dance dramas through India and other countries influenced by Hinduism, including southern Nepal, where the Tharu and Rajbansi peoples live. These ethnic groups are closely related to their Indian neighbors.

This mask represents Kali, a god who leapt from Durga’s brow in order to kill certain demons, but became so battle raged that she began killing everything in her path until Shiva stopped her by throwing himself under her feet. Kali is considered another side of Durga, but destructive and evil, and so she appears black and ferocious, with her tongue hanging out in blood lust.

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Javanese Laksmana

TITLE: Javanese Laskmana
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Indonesia
SUBREGION: Java
ETHNICITY: Javanese
DESCRIPTION: Laksmana (Lakshmana) Mask
CATALOG ID: ASID026
MAKER: Ganuh Nugroho AdiNarimo (Surakarta, 1966- )
CEREMONY: Wayang Wong Dance Drama
AGE: 1990s
MAIN MATERIAL: pule wood
OTHER MATERIALS: paint; leather strap; steel staples

The Wayang Wong dance drama retells parts of the Hindu epics, the Ramayana and the Mahabharata. These epics revolve around the god Rama and his battle with the demon king Ravana, who has abducted Rama’s wife, Sita. Rama is the avatar (earthly embodiment) of the supreme god Vishnu. In the end, Rama retrieves her with the help of the wily monkey god, Hanuman.

This specific mask represents the character Laksmana (also spelled Lakshmana), younger brother and boon companion to Rama, who plays an important role throughout the epic. He is somehow considered one-quarter a manifestation of Vishnu and an avatar of Shesha, a many-headed king of all nagas (demigods who take the form of giant king cobras).

The mask would be worn by the masquerader biting down on the strap to hold the mask in place. This leaves the character mute throughout the performance.

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Javanese Sita

TITLE: Javanese Sita
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Indonesia
SUBREGION: Java
ETHNICITY: Javanese
DESCRIPTION: Sita Mask
CATALOG ID: ASID027
MAKER: Ganuh Nugroho AdiNarimo (Surakarta, 1966-)
CEREMONY: Wayang Wong Dance Drama
AGE: 1990s
MAIN MATERIAL: pule wood
OTHER MATERIALS: paint; polyester strap; steel staples

The Wayang Wong dance drama retells parts of the Hindu epics, the Ramayana and the Mahabharata. These epics revolve around the god Rama and his battle with the demon king Ravana, who has abducted Rama’s wife, Sita. Rama is the avatar (earthly embodiment) of the supreme god Vishnu. In the end, Rama retrieves her with the help of the wily monkey god, Hanuman.

This specific mask represents a character known as Sita, also spelled Sinta or Sintha in Indonesia. The mask would be worn by the masquerader biting down on the strap to hold the mask in place. This leaves the character mute throughout the performance.

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Javanese Cakil

TITLE: Javanese Cakil
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Indonesia
SUBREGION: Java
ETHNICITY: Javanese
DESCRIPTION: Cakil Mask
CATALOG ID: ASID032
MAKER: Unknown
CEREMONY: Topeng Dance Drama; Wayang Wong Dance Drama
AGE: 1930s
MAIN MATERIAL: pule wood
OTHER MATERIALS: paint

This mask represents a character known as Cakil, a crab-like demon with a gigantic jaw, who represents persistent greed. It is used in both the Topeng and Wayang Wong. The Topeng dance drama of the island of Java centers around the political history of the region and are called Babad Dalem (Chronicles of the Kings) or Raket. The most popular story centers around the national hero Panji, whose consort Dewi Chandrakirana is abducted by the powerful King Klana Sewandana of Bantarangin.

The Wayang Wong dance drama retell parts of the Hindu epics, the Ramayana and the Mahabharata. These epics revolve around the god Rama and his battle with the demon king Ravana, who has abducted Rama’s wife, Sita. In the end, Rama retrieves her with the help of the wily monkey god, Hanuman.

The mask would be worn by the masquerader biting down on the leather strap to hold the mask in place. This leaves the character mute throughout the performance.

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Chhau Rakshasa

TITLE: Chhau Rakshasa
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: India
SUBREGION: West Bengal
ETHNICITY: Bengali
DESCRIPTION: Rakshasa Mask
CATALOG ID: ASIN003
MAKER: Sri Gokul Chandra Rai (Santineketan, West Bengal)
CEREMONY: Purulia Chhau Dance
AGE: 1973
MAIN MATERIAL: paper maché
OTHER MATERIALS: gesso; wire; dyed cloth; tinsel; beads; dyed feathers; paint

Chhau dance is a modern version of a classical Indian dance with tribal origins, originating in the Indian states of Jharkhand, Odisha, and West Bengal. The dance is usually structured around Hindu folk stories exalting the gods Shiva, Devi or Vishnu, and uses both elegant and martial techniques. The Purulia Chhau of West Bengal and the Seraikela dance of Jharkhand most commonly use masks to identify the character portrayed.

This specific mask is of the Purulia type and portrays a rakshasa, an earthbound, bloodthirsty, shape-changing demon. In the Hindu epics Ramayana and Mahabharata, rakshasas are numerous and fight on the sides of both good and evil.

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Yangju Byeolsandae Yeoniptal Mask

TITLE: Yangju Byeolsandae Yeoniptal Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Korea
SUBREGION: Yangju, Gyeonggi Province
ETHNICITY: Korean
DESCRIPTION: Yeoniptal Mask
CATALOG ID: ASKR010
MAKER: Unknown
CEREMONY: Byeolsandae Drama
FUNCTION: celebration; entertainment
AGE: ca. 1990s
MAIN MATERIAL: wood
OTHER MATERIALS: cotton hood; paint

Sandae noli is the type of masked drama in Gyeonggi Province and the Seoul region, Korea. It was historically part of seasonal village festivities. The play is accompanied by music played on a small samhyeon yukgak ensemble, consisting of three aerophones, one chordophone, and two membranophones.  The full performance involves dozens of characters in different masks.

This mask represents the Yeoniptal character, a high Buddhist monk with mystical powers.

For more on Korean masquerade, see Jeon Kyung-wook, Korean Mask Dance Dramas: Their History and Structural Principles (Gyeonggi-do, Rep. of Korea: Youlhwadang Pub. 2005).

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