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Quiché Achí Mask

TITLE: Quiché Achí Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Baja Verapaz
ETHNICITY: Mayan (Achí)
DESCRIPTION: Quiché Achí Mask
CATALOG #: LAGT001
MAKER: Ezequiel Chen Zarpéc (Rabinal, 1950- )
CEREMONY: Xajoj Tun (Rabinal Achí)
AGE: 2021
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint; elastic straps

The Xajoj Tun (Dance of the Drum), also called the Rabinal Achí, is a dance-drama exclusive to Rabinal, Baja Verapaz. It is performed on January 17-26 every year during the patron saint holiday, and represents a story from pre-Catholic Mayan culture. It begins with a blessing on the dancers, masks, and musical instruments, followed by prayer to the ancestors and characters represented to ask for permission to perform the play. Prayers are also made at local churches. The drama is set in the Mayan Kaiyub’ fortress and relates the tale of a K’iché warrior captured and sentenced to death by the royal court. The play begins with the capture of a K’iché warrior (the Quiché Achí, represented by this mask), whose army has invaded Rabinaleb, by the Rabinal Achí. He is taken to the royal court, where he is sentenced to die as a sacrifice to the gods. The Rabinal Achí tells the prisoner he will be spared death if he prostrates himself, but the Quiché Achí refuses. He makes many requests, all of which are granted, but he also asks for 260 days and nights to say farewell to his K’iché homeland. He receives no response, but leaves anyway. When he returns, the Rabinal Achí ties him to a tree, and eagle and jaguar warriors dance around him and throw spears at him until he dies.

The drama is accompanied by music from two trumpets, a flute, and a wooden drum. In addition, three copper plates are struck at the end of each dialogue.  Nine days after the conclusion of the performance, another ceremony is performed at the house of the director, to give thanks.

For more on Guatemalan masks, see Jim Pieper, Guatemala’s Masks and Drama (University of New Mexico Press, 2006).

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Moor Mask

TITLE: Moor Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Sacatepéquez
ETHNICITY: Mayan (Kaqchikel)
DESCRIPTION: Moro (Moor) Mask
CATALOG #: LAGT036
MAKER: Juan Sinay (San Antonio Aguas Calientes, 1867-1957)
CEREMONY: Baile del Torito
AGE: 1897
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint; hardware repairs

The Baile de lor Moros y Cristianos (Dance of the Moors and Christians), also sometimes called the Danza de la Conquista, is an annual ceremony in several cities of Guatemala, usually during a holiday in honor of the town’s patron saint. The dance tells the story of the reconquest of the Spain from the Moors in 1492. In the dance, one character represents the Moorish king, another the queen, and a third the Christian king. In addition, one or more Moorish soldiers are represented, as well as an angel in some versions. After a ritual battle, the Moors are vanquished or converted to Catholicism.

For more on Guatemalan masks, see Jim Pieper, Guatemala’s Masks and Drama (University of New Mexico Press, 2006).

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Conquista Malinche

TITLE: Conquista Malinche
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Totonicapán
ETHNICITY: Mayan (K’iché)
DESCRIPTION: Malinche Mask
CATALOG #: LAGT002
MAKER: José Alejandro Tistoj Mazariegos (San Cristóbal Totonicapán,, 1904-1985)
CEREMONY: Danza de la Conquista
AGE: 1965
MAIN MATERIAL: wood
OTHER MATERIALS: paint; German glass doll eyes; wood putty

The Danza de la Conquista (Dance of the Conquest), also sometimes called the Baile de Cortès (Dance of Hernán Cortez), is a ceremony performed in many parts of Guatemala, as well as Mexico and other parts of Central and South America. In Guatemala, the dance is supposed to tell the story of the conquest of the Mayan Empires, led by Tecu Uman, by the Spanish conquistadors, led by Pedro de Alvarado or Hernán Cortez. The dance involves a complex set of speeches and songs and, in many places, takes several hours to complete, often in two or three separate acts. In San Cristóbal Totonicapán, the Spaniards are led by Alvarado and come with a disciplined army. They are aided by two female characters, one of whom represents Malinche (called Doña Marina by the Spaniards), an Aztec princess who served as Cortez’s translator. Malinche and the other female were formally played by men in masks such as this one, but today they are primarily played by ummasked young girls, who sing periodically. The Mayan war council is advised by a shaman known as the ajitz, who helps but whose prophecies of Spanish conquest are ignored. In addition, an Aztec renegade assists the Mayans. After many speeches, discussions, songs, and melee battles, the Mayans are ultimately conquered and converted to Catholicism.

For more on Guatemalan masks, see Jim Pieper, Guatemala’s Masks and Drama (University of New Mexico Press, 2006).

This mask is from the second kind, and represents Malinche (properly, Malinalli), a noble Aztec maiden sold into slavery by her mother to the Mayans, then resold to the conquistador Hernán Cortés along with other girls. When he discovered Malinche spoke Nahuatl as well as Mayan, he used her as an interpreter in making the alliances with local peoples that ultimately led to the subjugation of all of Mexico. She and Cortés eventually became lovers, and she bore a son for him, but when Cortés’ wife arrived in Mexico, he married her off to another Spaniard.

The indigenous view of Malinche is mixed. Some view her as a heroine who helped turn Mexico to Catholicism, while others view her as a betrayer.  Either way, she plays an important role in the dance retelling the conquest of Mexico.

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Huehuecho Mask

TITLE: Huehuecho Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Baja Verapaz
ETHNICITY: Mayan (Achí)
DESCRIPTION: Huehuecho (Goiter) mask
CATALOG ID: LAGT012
MAKER: Ezequiel Chen Zarpéc (Rabinal, 1950- )
CEREMONY: Baile de los Huehuechos (Güegüechos)
AGE: 2021
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint

The Baile de los Huehuechos (sometimes spelled Güegüechos) is one of several pre-Christian masked dances of the Rabinal region of Baja Verapaz, Guatemala. In the Achí dialect, a güegüecho is a goiter. The dance is also sometimes called the Danza de la Patzca (Dance of the Rags), and it is normally danced in Rabinal during the celebration of Corpus Christi. The dance originally was dedicated to the Mayan god of rain, Jun Toj, to guarantee the conditions for a good harvest. Its characters consist of four men with gigantic goiters (like this mask), four with small goiters carrying pilgrim staves, and a woman named Aj Muy. They frequently cry out “jakorik ka petn chic,” which in Achí means: “May the frost come to me.”

For more on Guatemalan masks, see Jim Pieper, Guatemala’s Masks and Drama (University of New Mexico Press, 2006).

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Conquistador (Spaniard) Mask

TITLE: Conquistador (Spaniard) Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: El Quiché
ETHNICITY: Mayan (K’ich’e)
DESCRIPTION: Conquistador (Español) Mask
CATALOG #: LAGT013
MAKER: Unknown maker in Santa Cruz del Quiché
CEREMONY: Baile de la Conquista
AGE: 1970s
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint; glass eyes; burlap; adhesive

The Baile de la Conquista, or Dance of the Conquest, is performed throughout Guatemala, usually on a town’s patron saint holiday. It retells the story of the conquest of the Americas by the Spaniards, led by Hernán Cortés, who eventually became the governor of “New Spain.” In the story, Cortés brings a small army of Spaniards, allied with various indigenous tribes and assisted by a native woman known as Malinche, to subdue and convert the Mayans, who are led by Tecu Uman and assisted by the prophecies of an ajitz, or shaman. Although there are mock battles between the Mayans and Spaniards in most performances, different towns have different versions of the story, with some ending in the conquest and conversion of the Mayans, and others telling a revisionist tale of the capture and surrender of the Spaniards.

For more on Guatemalan masks, see Jim Pieper, Guatemala’s Masks and Drama (University of New Mexico Press, 2006).

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Caporal / Negrito Mask

TITLE: Caporal / Negrito Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Sacatepéquez
ETHNICITY: Mayan (Kaqchikel)
DESCRIPTION: Caporal (Foreman) Mask in the form of a Negrito (black man)
CATALOG #: LAGT022
MAKER: Guadalupe Sinay (San Antonio Aguas Calientes, 1913-2005)
CEREMONY: Baile del Torito
AGE: ca. 1950
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint; plastic straps

The Baile del Torito (Dance of the Little Bull), also called the Danza del Torito, is an annual ceremony in several cities of central and southern Guatemala, usually during a holiday in honor of the town’s patron saint. The dance is accompanied by music from a marimba band.

The dance dates back to the 17th century. It tells the story of a cattle ranch in which the caporal or mayordomo (foreman) prohibits the vaqueros (cowboys) to interact with a bull like this one. The cowboys get the foreman drunk and perform bullfights. Eventually, a bull kills the foreman and the dance ends.

The dance frequently begins before sunrise and lasts for up to 12 hours. It may be performed for many days, sometimes over a week. Depending on the size of the town, there may be only one or several bulls and caporales, and up to 50 vaqueros. In some towns, such as Chichicastenango, there is both a white caporal and a black one. In other towns, such as San Antonio Aguas Calientes, there is only one caporal, who is black.

The costume of the vaquero is brightly colored and elaborate, with a hat sporting thick clusters of dyed ostrich feathers. In some towns, the vaquero carries a cape and maraca (rattle). The players of each character are chosen through Mayan rituals and are blessed by an Ai-lj (Mayan priest) before the dance.

For more on Guatemalan masks, see Jim Pieper, Guatemala’s Masks and Drama (University of New Mexico Press, 2006).

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Bärentreiber (?) Mask

TITLE: Bärentreiber (?) Mask
TYPE: face mask
GENERAL REGION: Europe
COUNTRY: Germany
ETHNICITY: German (Bavarian)
DESCRIPTION: Mask of an older man, possibly a Bärentreiber (Bear Tamer)
CATALOG #: EUDE017
MAKER: Hans Guggemoos (Garmisch-Partenkirchen)
CEREMONY: Fasnacht (Carnival)
AGE: ca. 1960s
MAIN MATERIAL: cedar wood
OTHER MATERIALS: paint

Fasching or Fasnacht is the Tyrolean carnival.  In many towns in Austria, southern Germany, Switzerland, and northern Italy, local folk don elaborate masks and costumes to parade through the town. Different towns have variations on the parade, such as the Schemenlaufen of Imst, the Schellerlaufen of Nassereith, and the Muller and Matschgerer of Innsbruck, Austria.

The characters include young and old personalities alike. This mask might represent the Bärentreiber, a mature man who tames a bear (which he keeps on a chain or rope in the Carnival parade). This character is sometimes seen in the Fasnacht parades. It is signed with the initials of the maker on the back, CH.

Regrettably, the best texts on Carnival in Bavaria and Swabia are still available in German only: Heinz Wintermantel’s Hoorig, hoorig isch die Katz (Würzburg: Konrad Theiss, 1978) and Dick Eckert’s Die Werdenfelser Fasnacht und ihre Larven (Volk Verlag München, 2015).

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Toussian Loniaken Mask

TITLE: Toussian (Tusyan) Loniaken Mask
TYPE: plank mask
GENERAL REGION: Africa
COUNTRY: Burkina Faso
ETHNICITY: Toussian (Tusyan)
DESCRIPTION: Loniaken Plank Mask for Do or Lo Society
CATALOG #: AFBF001
MAKER: Unknown
CEREMONY: Adult Initiation; Funeral; Secret Society
AGE: 1980s
MAIN MATERIAL: wood
OTHER MATERIALS: wicker; mineral paint; raffia fiber

The Toussian (also written Tusyan) people are a small ethnic group in southwestern Burkina Faso. Members of the Do or Lo Society dance these masks at funerals and during adult initiation ceremonies of young men. At the ceremonies, the boys are given new, secret names associated with totemic birds or animals.  The loniaken mask itself usually portrays a totemic hornbill bird, and it is specially danced in major Do or Lo Society ceremonies that occur every forty years.

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Halloween Astronaut Mask & Costume

TITLE: Halloween Astronaut Mask & Costume
TYPE: face mask; costume
GENERAL REGION: North America
COUNTRY: United States of America
ETHNICITY: Mixed
DESCRIPTION: Vacuform Plastic Astronaut Mask and Costume
CATALOG #: NAUS010
MAKER: Collegeville Costumes (Collegeville, Pennsylvania)
CEREMONY: Halloween
AGE: 1960s
MAIN MATERIAL: styrene plastic
OTHER MATERIALS: elastic string; hardware

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 was mass produced by a process known as vacuform molding. Sheets of heated styrene plastic are placed over a three-dimensional mold and a vacuum sucks out the air, forming the plastic to the mold. The mask is then cut out, machine painted, and an elastic band is stapled to the mask. The process is exceedingly fast and inexpensive, making the mask very popular with the overwhelming majority of Americans from the late 1950s to today.

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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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 with Extended Tongue
CATALOG #: LAMX135
MAKER: José Rafael Pérez (Tenosique, 1949- )
CEREMONY: Danza Correr del Pochó
AGE: 2015
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 original style (like this one), appear like fierce men. 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.

This specific mask was worn by the maker’s son, José Rafael Pérez Pérez (Tenosique, 1986- ), from 2015-2017 in successive Carnivals of Tenosique.

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