Paraguayan Mask

TITLE: Paraguayan Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Paraguay
SUBREGION: N/A
ETHNICITY: Guarani
DESCRIPTION: N/A
CATALOG ID: N/A
MAKER: N/A
CEREMONY: Regionally dependent
FUNCTION: Regionally dependent
AGE: N/A
MAIN MATERIAL: N/A
OTHER MATERIALS: N/A

Paraguay celebrates eight different masked traditions in indigenous regions. These are mostly Guarani ethnic groups. They include Arete Guasu, in Santa Teresita in the Chaco region; the Festival of San Pedro and San Pablo in Itaguazu in the Altos region; the Festival of the Nativity of the Virgin in Itaguasu in the Altos region; the Festival of Kamba ra Anga in the Community of 21 de Julio in the Tobati region; the Santo Rey Ara in Compañía Rosado in the Tobati region; Kurusu San Roque Ara in Yaguaron in the Paraguari region; and the Festival of San Francisco Solano in the Emboscada region. Functions may include protection, purification, spirit invocation, and adult initiation. The festivities typically include processions and dances.

The Museum’s collection currently includes no representative example of any Paraguayan mask.

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Basque Mamuxarroak Mask

TITLE: Basque Mamuxarroak Mask
TYPE: face mask
GENERAL REGION: Europe
COUNTRY: Spain
SUBREGION: Euskadi
ETHNICITY: Basque
DESCRIPTION: Mamuxarroak Mask
CATALOG ID: N/A
MAKER: N/A (Unanu)
CEREMONY: Carnival; Holy Week; patron saint holidays
FUNCTION: Celebration; Entertainment
AGE: N/A
MAIN MATERIAL: N/A
OTHER MATERIALS: N/A

In the Basque regions of Spain and France, different towns have traditions of masquerade during Carnival, Holy Week, or patron saint holidays. In Unanu (Ergoiena), for example, masked characters known as mamoxarros and muttuas parade in white, with black or red belts, and a kattola (mask) made of metal. The mamuxarros carry sticks, to beat anyone who appears on the streets on Shrove Tuesday. The muttuas are dressed as women and run around informing the mamuxarros about anyone who requires a beating. The townsfolk tease the mamoxarros with a rhyme: “”Mamuxarro xirri, xarro, zer emango dizut, zazpina uzker afarirako, zata begi gorri, urtian behin etorri,” which roughly translates to: “Mamuxarro, xirri, xarro, what can I give you? Seven o’clock for dinner, you red-eyed man, come once a year.” This rhyme references the village dinner that follows the end of Carnival.

In other celebrations, such as Otsagabia, a masked character named Bobo dances on September 8 each year, in honor of the Virgin of Muskda, surrounded by unmasked dancers.

The Museum’s collection currently includes no representative example of any Basque mask.

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Irish Mummers Mask

TITLE: Irish Mummers Mask
TYPE: face mask
GENERAL REGION: Europe
COUNTRY: Ireland
SUBREGION: N/A
ETHNICITY: Irish
DESCRIPTION: Mummers Mask
CATALOG ID: N/A
MAKER: N/A
CEREMONY: Advent; theatre
FUNCTION: Celebration; Entertainment
AGE: N/A
MAIN MATERIAL: N/A
OTHER MATERIALS: N/A

Ireland has an ancient tradition of mumming, or masquerade, involving storytelling and music. Mummers traditionally wear suits and hats of rags or straw. The masks are traditionally made of straw or cloth. The stories and characters may originate in Italian Commedia dell’Arte or Irish or British history, folklore, or mythology. The performances may occur in public houses or clubs, typically at a local festival or holiday, such as St. Stephen’s Day (e.g., Mummers of Fingal), or during Advent (the four days before Christmas) (e.g., Armagh Rhymers). The drama is usually accompanied by musical instruments, including the banjo, violin, tin whistle, or bodhran drum. Historically, the mummers would receive compensation in the form of money or drinks.

The Museum’s collection currently includes no representative example of any Irish mask.

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Percht Mask

TITLE: Percht Mask
TYPE: helmet mask
GENERAL REGION: Europe
COUNTRY: Austria
ETHNICITY: German (Austrian)
DESCRIPTION: Schiachpercht (Ugly Percht) Mask
CATALOG ID: N/A
MAKER: N/A
CEREMONY: Perchtenlauf
FUNCTION: protection/purification; spirit invocation
AGE: N/A
MAIN MATERIAL: wood
OTHER MATERIALS: N/A

The tradition of Perchtenlauf celebrates a pagan Alpine goddess who ruled over winter in Austria, Bavaria, and parts of Switzerland and northern Italy. Perchta—also written Berchta—is a figure from Alpine folklore whose roots reach into pre-Christian Germanic traditions. She presides over the winter soltice, a liminal period when supernatural forces were thought to roam freely. Perchta’s defining feature is her dual nature. In her benevolent form, she appears as a radiant, beautiful woman who rewards hard work, domestic order, and proper observance of seasonal customs with gifts. In her darker aspect, she appears hideous and terrifying, and punishes laziness, disrespect, or taboo-breaking. Folklore often portrays this fearsome side with a long knife hidden in her skirts, allowing her to mete out grisly justice by opening the bellies of wrongdoers and stuffing them with straw—a vivid metaphor for moral emptiness.

This striking duality inspired the evolution of the Perchten—supernatural beings associated with Perchta—and ultimately the tradition of the Perchtenlauf, the “Perchten parade.” The two types of Perchten are the Schönperchten (“beautifuls”) and the Schiachperchten (“uglies”), which mirror Perchta’s contrasting faces. Beautiful Perchten bring blessings and good fortune, while their monstrous counterparts drive away evil influences and the symbolic darkness of winter. In the Perchtenlauf, the Perchten are divided into two groups that have symbolic battle, in which the harsh forces of winter are vanquished by the vitality of spring. Through loud processions and bell-ringing, Perchtenlauf still serves its ancient purpose—cleansing the community of misfortune and welcoming renewal for the coming year.

Although Perchten may have inspired the more recently developed concept of Krampus, they are separate concepts. Although both wear animal skins and furs, loud bells, and a whip, cane, or Rute, Krampus has a more human face with two horns. In contrast, the Perchten tend to have more chunky and abstract faces, six horns, and sometimes an articulated jaw that gnashes its teeth. Most importantly, Krampus is a demonic presence that punishes misbehaving children, while the Percht is both a symbol of and protector of the community. Krampus do not appear after Nicholaustage (December 6), whereas Perchten appear during the Rauhnächte, the twelve nights between Christmas and Epiphany (between December 26 and January 6). In some regions, however, the Perchent appear slightly early, such as mid-December.

The Museum collection currently has no Perchten masks.

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Grandma Qintong Nuo Mask

TITLE: Grandma Qintong Nuo Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: China
SUBREGION: Guizhou
ETHNICITY: Han
DESCRIPTION: Nuo mask of a Grandma Qintong character
CATALOG ID: ASCN013
MAKER: Unknown maker in Cengong County, Guizhou
CEREMONY: Nuoxi
FUNCTION: Celebration; Entertainment; Protection/Purification
AGE: 1820-1850
MAIN MATERIAL: wood
OTHER MATERIALS: paint

The Nuoxi of China may be traced back to the Ming Dynasty (1368-1644 CE), possibly much earlier (some believe the Shang and Zhou Dynasties) and was popular in large parts of the empire, but especially along the southern borders, where it was a form of entertainment for the imperial troops. It evolved from a sacrificial rite performed by shamans into a more dramatic form, with both Buddhist and Taoist overtones. Nuo opera is based on historical stories and stories based on the Taoist religion and all roles (including female roles) are performed by men. It evolved into a popular form of entertainment and was eventually accompanied by an orchestra of Chinese instruments.  The Nuo opera never quite lost its shamanic connection, however, and also was used to exorcise evil spirits at the home of sick persons. The sacred connection is evident from a religious ceremony that always precedes the opening of a Nuo opera.  In addition, a wooden statue representing the originator of the opera is present at every performance, and nobody except the opera troupe may touch props used in the performance. Although the Chinese Communist Party attempted to suppress Nuo performances and eliminated it from most of the country, the opera continues to be performed in three southern provinces of China today (Guangxi, Guizhou, and Jiangxi).

The Han people make up the largest ethnic group in China.

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Ishi Gempo Mask

TITLE: Chung Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Bhutan
SUBREGION: N/A
ETHNICITY: Ngalop
DESCRIPTION: Chung (Garuda) Mask
CATALOG ID: ASBT005
MAKER: Carver: Bumpa Dorji (Tashiyang, 1991- ); Painter: Tashi Phuntsho (Lhuentse, 1990- )
CEREMONY: Cham Dance
FUNCTION: Celebration; Entertainment; Protection/Purification
AGE: 2025
MAIN MATERIAL: blue pine wood
OTHER MATERIALS: mineral paint; lacquer; cotton cloth; wool cloth; wool batting; thread

The Ngalop people inhabit western and central Bhutan and are originally of Tibetan origin. The ethnic group includes an estimated 710,000 persons.  The Ngalop are primarily Tibetan Buddhist, and their masks are typically worn at monastery celebrations known as Cham Dances to bless the sowing of the grain, pray for a bountiful harvest, and entertain the public.

The chung, or Garuda, is not an original Buddhist character, but is instead a Hindu deity that takes the form of an eagle-like creature, often with a human torso, the wings, beak, and talons of a raptor, and serrated teeth. In Hindu mythology, Garuda is the mount (vahana) of Lord Vishnu and king of the birds. In Bhutanese tschechus, the chung is used is several dances, such as the Bardo Cham, but most prominently the Chung Zam Cham, or Dance of the Four Garudas.

For more on the masked festivals of Bhutan, see Kezang Namgay, Sacred Dances of Bhutan (self-pub., 2d ed., 2017), and, with regard specifically to the traditions of Bumthang, Yonten Dargye, Festivals of Bumthang Dzongkhag (Thimpu: Research & Media Division, Naitonal Library & Archives of Bhutan/Tshangpa Press, 2018).

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Baining Ragelaque Mask

TITLE: Baining Ragelaque Mask
TYPE: helmet mask
GENERAL REGION: Oceania
COUNTRY: Papua New Guinea
SUBREGION: East New Britain Island
ETHNICITY: Melanesian (Baining)
DESCRIPTION: Ragelaque tapa cloth mask
CATALOG ID: OCPG011
MAKER: Isaac Dulai Sr. (Kainagunan, 2002- )
CEREMONY: Ragelaque Dance
FUNCTION: Adult Initiation; Agriculture; Celebration; Funeral; Spirit Invocation
AGE: 2025
MAIN MATERIAL: tapa cloth
OTHER MATERIALS: cane; paper; natural pigments; string

The Baining people live in eastern New Britain Island area known as the Gazelle Peninsula, in a mountainous tropical forest.  They are a Melanesian people closely akin to other groups in Papua New Guinea.  They traditionally live in small villages with dispersed political authority.  The Baining use their masks to unify the otherwise dispersed villagers, usually in celebrations of major events such as yam harvest, births, deaths, or adult initiation for both boys and girls.  Some dances are for the day time, mostly those centered around female tasks such as sowing, harvesting, and births.

The masks are mostly made of mulberry or breadfruit tree bark mashed and pounded into a cloth (“tapa cloth”) over bamboo or cane frames. The ragelaque mask is danced in a group to the music drums. This specific mask was danced by its maker, Isaac Dulai Sr., along with his son at the Warwagira Festival in 2025.

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Baining Gumanaga Mask

TITLE: Baining Gumanaga Mask
TYPE: helmet mask
GENERAL REGION: Oceania
COUNTRY: Papua New Guinea
SUBREGION: East New Britain Island
ETHNICITY: Melanesian (Baining)
DESCRIPTION: Gumanaga tapa cloth mask
CATALOG ID: OCPG015
MAKER: Isaace Ligur (Gaulim, 1945- )
CEREMONY: Gumanaga Dance
FUNCTION: Adult Initiation; Agriculture; Celebration; Funeral; Spirit Invocation
AGE: 2025
MAIN MATERIAL: tapa cloth
OTHER MATERIALS: cane; wood stick; charcoal; annatto juice; chicken feathers; dried leaves; rubber band

The Baining people live in eastern New Britain Island area known as the Gazelle Peninsula, in a mountainous tropical forest.  They are a Melanesian people closely akin to other groups in Papua New Guinea.  They traditionally live in small villages with dispersed political authority.  The Baining use their masks to unify the otherwise dispersed villagers, usually in celebrations of major events such as yam harvest, births, deaths, or adult initiation for both boys and girls.  Some dances are for the day time, mostly those centered around female tasks such as sowing, harvesting, and births.

The masks are mostly made of mulberry or breadfruit tree bark mashed and pounded into a cloth (“tapa cloth”) over bamboo or cane frames.  This mask, the gumanaga, is used in day dances and was danced in 2025 at the Warwagira Festival by Martin Mesulam (Gaulim, 2007- ).

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Tigre Crest

TITLE: Tigre Crest
TYPE: crest mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Chiapas
ETHNICITY: Mayan
DESCRIPTION: Tigre (Jaguar / Tiger) Crest Mask
CATALOG ID: LAMX191
MAKER: Mariano Venturino Champo José (Suchiapa, 1967- )
CEREMONY: Danza del Calalá
AGE: 1974
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint; painted glass eyes; metal staples

In Suchiapa, Chiapas, the Danza del Calalá (Dance of the “Celestial Deer” in the Chacoan language) is performed on Corpus Christi using wooden or gourd helmet masks with a cloth cowl. The dancer looks through a hole in the cloth and simulates combat with other dancers in a less brutal version of the Batalla de los Tigres in Guerrero. The dance originated before the Spanish conquest and involves several other masked characters , including the calalá (deer), the biblical Goliath, gigantillo (little giant, representing Goliath’s nemesis David), and Quetzalcoatl (feathered serpent god of the Maya). The dance is performed to indigenous music of drums and reed whistles, and it ends when the tigres revolt.


Click above to watch a short documentary film about the Danza del Calalá of the Corpus Christi celebration in Suchiapa, Mexico.

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Moryonan (Moriones) Mask and Breastplate

TITLE: Moryonan (Moriones) Mask and Breastplate
TYPE: helmet mask; costume
GENERAL REGION: Asia
COUNTRY: Philippines
SUBREGION: Marinduque
ETHNICITY: Filipino (Tagalog)
DESCRIPTION: Moryonan mask and matching breastplate decorated with tangala
CATALOG ID: ASPH003
MAKER: Mask: Renato Morales Sr. (Mogpog, 1942-2018); Helmet and Breastplate: Jerónimo Nagutom (Mogpog, 1968- )
CEREMONY: Moryonan Festival
AGE: 1987
MAIN MATERIAL: wood
OTHER MATERIALS: tangala (coconut stems); coconut shell; adhesive; vegetable fiber; cotton cloth; foam rubber; plastic helmet strap

Every year during Holy Week, Catholic inhabitants of the island of Marinduque stage a passion play in which some dress as Roman soldiers and Syrian mercenaries who persecute and ultimately crucify a man playing the role of Jesus to expiate the town’s sins. The soldiers, or Moryonan (usually called Moriones in the media) wear wood and fiber helmet masks in imitation of the Roman legionary’s galea. Some masks and costumes are made with very creative materials, such as consumer product boxes, beer cans, or organic materials. This mask and breastplate are decorated with the dried stems and shells of a coconut fruit and was worn by Abel Livelo (Mogpog, 1967- ) from 1987 until about 2015.

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