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Character Mask

TITLE: Character Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Michoacán
ETHNICITY: Purépecha
DESCRIPTION: Laughing character mask with stars on face
CATALOG ID: LAMX060
MAKER: Unknown
CEREMONY: Pastorela
AGE: ca. 2010
MAIN MATERIAL: wood
OTHER MATERIALS: paint

The Pastorela is the ceremonial dance drama of Michoacán state in Mexico. Pastorelas, performed in February during the Shrovetide season, are primarily religious in significance. The main characters of the Dance of the Shepherds are the Devil and his minions, the Archangel Michael, shepherds, and a hermit (who paradoxically represents the ancestors of the performers).  The drama revolves around the attempts of Lucifer and his demon minions to steal the baby Jesus.  Other dramas performed on the occasion include the Dance of the Negritos (dance of the little blacks), relating to the importation of African slaves into Mexico by the Spaniards, and which includes an army of elegantly dressed “little Maries” (Maringuillas), and feos, or ugly clowns.

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Charro Mask and Cape

TITLE: Charro Mask and Cape
TYPE: face mask; costume
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Tlaxcala
ETHNICITY: Nahua
DESCRIPTION: Charro (Cowboy) mask with embroidered cape
CATALOG ID: LAMX140
MAKER (Mask): Constantino Torres Pérez (1956- , Papalotla, Tlaxcala)
MAKER (Cape): Francisca Lara Guerrero (1936- , Papalotla, Tlaxcala)
CEREMONY: Carnival
AGE (Mask): 2017
AGE (Cape): 2015
MAIN MATERIAL (Mask): wood
OTHER MATERIALS (Mask): resin; oil-based paint; glass eyes; cattle hair eyelashes; gold foil; cotton string; plastic beads; cotton straps
MATERIALS (Cape): cotton granité cloth; cotton skein yarn; cotton thread; sequins

Carnival in Tlaxcala, Mexico has traditions quite different from those in other parts of the country.  In the town of Papalotla, Tlaxcala, men dress in elaborate costumes with broad feathered hats and detailed capes to perform a dance called El Pedimento del Agua (The Petition for Water). The costume for the dance, probably originating as a Chichimeca rain dance, is elaborately symbolic. The feathers symbolize clouds, the band around the head the sky, a beribboned mirror behind the head (the rocetón) symbolizes the moon and stars with a rainbow, and the leg coverings symbolize the home, or protection. On the cape, the sequins symbolize rain and the cotton braids symbolize snow. The design includes roses, which evoke nature, and the Mexican eagle. In addition, the charro dancers carry a braided whip called a cuarta, traditionally made of ixtle fiber, which symbolizes both thunder (noise of the whip cracking) and the chirrionera, a coachwhip snake, which according to local myths represents a woman converted into a serpent by a curse.

The mask of the charro is similar to the catrín mask used in other parts of Tlaxcala and, like them, ridicules the gentrified Spanish colonizers, with beauty marks and a gold tooth.

In the dance, dancers are orgnized into two structures, an exterior and an interior. The exterior is composed entirely of charros. The inner structure revolves around a female figure, the Nana (a man dressed as a women, with a female mask), who is surrounded by young female dancers (doncellas) and male dancers in simpler suits known as vasarios.

This mask was danced by its maker from 2017 until 2020. The cape was hand sewn in 2015 and rented out by the Taller Silver Star to be danced in the Carnival of Papalotla until 2020.



A brief documentary about Carnival in the state of Tlaxcala, Mexico.

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Chinelo Mask

TITLE: Chinelo Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Morelos
ETHNICITY: Nahua
DESCRIPTION: Wire mesh Chinelo mask with dark beard
CATALOG ID: LAMX072
MAKER: Unknown
CEREMONY: Carnival
AGE: 1984
MAIN MATERIAL: metal wire mesh
OTHER MATERIALS: metal strips; dyed ixtle fiber; oil-based paint

The Carnival of Morelos typically features the popular figure of fun, the chinelo, a Spanish version of the Nahuatl word zineloquie, or “disguised.” As occurred in many parts of Mexico, dances developed during Carnival as a means of expressing indigenous resentment of the European colonists.  In Morelos, the primary object of frustration was the sugar cane plantation, in which native labor was exploited while Spanish colonists enriched themselves. The chinelos represent a grotesque caricature of the invaders, with their fancy clothing, fair skin, elaborate facial hair, and arrogant mannerisms. Chinelo costumes are especially elaborate, often made to resemble velvet or satin, with bright and intricate designs in beads, sequins, fur, and feathers covering the robe and hat.  The dance of the chinelos, called the brincón (“hop”), is a series of repetitive, energetic hops to the fast-paced blare of drums, and of brass and woodwind instruments.

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Chinelo Mask

TITLE: Chinelo Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Morelos
ETHNICITY: Nahua
DESCRIPTION: Chinelo Mask
CATALOG ID: LAMX073
MAKER: Unknown
CEREMONY: Carnival
AGE: 1970s
MAIN MATERIAL: metal wire mesh
OTHER MATERIALS: metal strips; dyed ixtle fiber; oil-based paint

The Carnival of Morelos typically features the popular figure of fun, the chinelo, a Spanish version of the Nahuatl word zineloquie, or “disguised.” As occurred in many parts of Mexico, dances developed during Carnival as a means of expressing indigenous resentment of the European colonists.  In Morelos, the primary object of frustration was the sugar cane plantation, in which native labor was exploited while Spanish colonists enriched themselves. The chinelos represent a grotesque caricature of the invaders, with their fancy clothing, fair skin, elaborate facial hair, and arrogant mannerisms. Chinelo costumes are especially elaborate, often made to resemble velvet or satin, with bright and intricate designs in beads, sequins, fur, and feathers covering the robe and hat.  The dance of the chinelos, called the brincón (“hop”), is a series of repetitive, energetic hops to the fast-paced blare of drums, and of brass and woodwind instruments.

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Chivo Mask

TITLE: Chivo Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Hidalgo
ETHNICITY: Otomí
DESCRIPTION: Chivo (goat) mask
CATALOG ID: LAMX031
MAKER: Unknown maker from San Bartolo Tutotepec
CEREMONY: Carnaval de Chivos
AGE: 1950s or 1960s
MAIN MATERIAL: hardwood
OTHER MATERIALS: goat horns; goat leather & hair; paint; glitter; glue; iron nails

The chivo, or goat, is a popular Carnival character in the villages of El Nante and San Bartolo Tutotepec, Hidalgo. Nearly all chivo masks have the same comical and half-sinister expression, twisted nose, lined face, and goat horns pointed upward. The horns are normally decorated with wires holding ribbons, bells, and tassels (in this case, missing). Older masks like this one are painted with subdued colors, while newer masks tend to be brighter.

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Chivo Mask

TITLE: Chivo Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Guerrero
ETHNICITY: Nahua
DESCRIPTION: Chivo (goat) mask with ixtle fiber headdress
CATALOG ID: LAMX015
MAKER: Unknown maker in San Roque, Mochitlán
CEREMONY: Carnaval de Chivos
AGE: ca. 1960s
MAIN MATERIAL: wood
OTHER MATERIALS: plaster; goat horns; oil paint; dyed ixtle fiber

In parts of Guerrero, multicolored goat masks are worn to celebrate the Carnaval (or Danza) de Chivos.  The goats, almost always played by young men, dance in a group to brass instrument and drum music wearing long headdresses of straw. Some chivos play percussion instruments as they dance.  The dance is usually performed in honor of the patron saint of the village.

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Chivo Mask

TITLE: Chivo Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Hidalgo
ETHNICITY: Otomi
DESCRIPTION: Chivo (Goat) Mask
CATALOG ID: LAMX031
MAKER: Unknown maker in San Bartolo Tutotepec
CEREMONY: Carnaval de Chivos
AGE: 1950s
MAIN MATERIAL: hardwood
OTHER MATERIALS: goat horns; goat leather & hair; paint; glitter; glue; iron nails; wire; dyed polyester ribbons; brass bells

The chivo, or goat, is a popular Carnival character in the villages of El Nante and San Bartolo Tutotepec, Hidalgo. Nearly all chivo masks have the same comical and half-sinister expression, twisted nose, lined face, and goat horns pointed upward. The horns are decorated with wires holding ribbons, bells, and tassels (in this case, partially restored later). Older masks like this one are painted with subdued colors, while newer masks tend to be brighter. At some point, the owner of this mask glued glitter to the outside, which over time flaked off.

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Clown Mask (Child’s)

TITLE: Clown Mask (Child’s)
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Veracruz
ETHNICITY: Nahua
DESCRIPTION: Child’s Mask of a Payasita (Female Clown) or Novia (Girlfriend)
CATALOG ID: LAMX167
MAKER: Rafael Mesa Oliva (1978- , Naolinco de Victoria)
CEREMONY: Carnival; Fiesta de San Mateo (Danza de los Pilatos)
AGE: 2013
MAIN MATERIAL: equimite wood
OTHER MATERIALS: oil-based paint; string

The novia or girlfriend and payasita (little female clown) are popular Carnival characters in Mexico, almost always danced by a man wearing a female clown costume or some other feminine attire. In Naolinco, Veracruz, she may also be danced in the Danza de los Pilatos, also called La Danza de los Moros y Cristianos (Dance of the Moors and Christians), which is an important celebration in the Mexican state of Veracruz. The dance reenacts the reconquest Spain from the Saracens by the European Christians. The dance arose from the teachings of missionaries as part of an effort to instill respect for and fear of the Spaniards in the indigenous peoples, and to convince them that the victory of Christianity over other faiths—by violence whenever necessary—was inevitable.

The dance is still performed widely in Mexico, including in Mexico State, Michoacán, Puebla, and Veracruz. Characters vary depending on locality, although they always include “Christians” or “Spaniards” and Moors. In Naolinco, Veracruz, the dance is performed on the holiday of the town patron saint, St. Matthew (Fiesta de San Mateo), celebrated on Sept. 20-21 every year.  There, Moors take many forms, including devils, pirates, clowns, or skeletons. Some of the characters are not obviously evil, such as Apaches (representing indigenous Americans) or this payasita, but they are portrayed as Moors nonetheless. This specific mask is slightly smaller than the adult size and was danced by older children.

For more on masks from Veracruz, see Bryan J. Stevens, Mexican Masks and Puppets: Master Carvers of the Sierra de Puebla (Atglen, Pennsylvania: Schiffer Pub’g, 2012).


A brief video with highlights of the Danza de los Moros y Cristianos from Naolinco’s 2018 Fiesta de San Mateo.

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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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Cojó Mask

TITLE: Cojó Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Tenosique, Tabasco
ETHNICITY: Mayan (Yokot’anob / Chontal)
DESCRIPTION: Cojó Mask
CATALOG ID: LAMX134
MAKER: José Rafael Pérez (Tenosique, 1949- )
CEREMONY: Danza Correr del Pochó
AGE: 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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