TITLE: Halloween Werewolf Mask
TYPE: hood mask
GENERAL REGION: North America
COUNTRY: United States of America
ETHNICITY: Mixed
DESCRIPTION: Latex Wolf Man (Werewolf) Mask
CATALOG ID: NAUS037
MAKER: Forum Novelties, Inc., New York
CEREMONY: Halloween
AGE: September 2012
MAIN MATERIAL: latex
OTHER MATERIALS: polyester fiber; paint; velcro; foam rubber padding

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 made in China from a design licensed by Universal Studios, based on the Wolf Man from the eponymous 1941 motion picture starring Lon Chaney, Jr.  The Wolf Man had a great influence over the horror genre in the United States. The mask was made by a contract manufacturer in China.

Item #67170, Lot #39701, FTY #1017, RN 131472

Click above to watch a documentary about Halloween in the United States.

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TITLE: Old Man Mask
TYPE: face mask
GENERAL REGION: Europe
COUNTRY: Moldova
ETHNICITY: Romanian-Moldovan
DESCRIPTION: Bătrânească (Old Man) Mask
CATALOG ID: EUMO001
MAKER: Unknown
CEREMONY: Campanesti; Mastile; Carnival
FUNCTION: Agriculture; Celebration; Hunting; Protection/Purification
AGE: 1980s
MAIN MATERIAL: wood
OTHER MATERIALS: sheep’s wool; cow horns; paint; hardware

In Romanian and Moldovan folk traditions, many kinds of masks are used at planting time and during the celebrations of Lent prior to Christmas, and during Carnival.  Some are used for caroling, while others originate in pre-Christian rituals of appeasing the gods for a rainy spring, bountiful harvest, or successful hunt.  Only men may wear such masks.  This mask represents an old man (Bătrânească) and is a popular Carnival character.

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TITLE: Dogon Kanaga
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Mali
ETHNICITY: Dogon
DESCRIPTION: Kanage Mask
CATALOG ID: AFML004
MAKER: Unknown
CEREMONY: Dama
FUNCTION: Funeral
AGE: Mid to late 20th century
MAIN MATERIAL: wood
OTHER MATERIALS: pigment; string

The Dogon people of Mali use a tremendous variety of masks, most of which center around funeral rites, known as Dama. Traditionally, the Awa Society controlled the use of masks, such as this kanaga.  The kanaga is used in funerals to usher the spirit of the dead from the village back to its proper place in the bush.  Along with the mask, the dancer wears a hood of plaited fiber to cover the back of the head, and a costume of black and red woven cloth embroidered and decorated with cowrie shells and beads.  The kanaga dancer also wears a pair of woven pants and a long skirt of black, red, and yellow plant fibers.

The mask represents a god, the crossbars representing arms and legs, as well as the arrangement of the world, with the upper bar representing the sky and the lower bar representing the earth.  As in other African masking traditions, the white color of the superstructure indicates the spirit world.

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TITLE: Moreno (Caporal Tundiqui)
TYPE: helmet mask; accessories
GENERAL REGION: Latin America
COUNTRY: Bolivia
SUBREGION: Oruro
ETHNICITY: Quechua and Aymara
DESCRIPTION: Moreno (Caporal Tundiqui) Mask
CATALOG ID: LABO021
MAKER: Unknown
CEREMONY: Carnival (La Morenada)
AGE: 1980s
MAIN MATERIAL: tin
OTHER MATERIALS: brass; polyester fiber; metal chain; glitter; paint; dyed ostrich feathers

The Morenada (Dance of the Moors) is an annual ceremony in several towns in the Altiplano region of Bolivia, Peru, and northern Chile, usually incorporated into Carnival.  The dance includes both male and female Moors dancing in a group with whips, rattles, or scepters. A King of the Moors (Rey de Morenos) presides and coordinates the dance. The dance typically occurs in the course of a parade, with marching bands playing musical scores for the dancers.  The precise origins of the Morenada are the subject of debate, with most specialists concluding that the dance was inspired by African slaves brought to Bolivia to work the mines or the subsequent integration of Africans into the Yungas community near La Paz.  The morena wears a fancy version of the traditional Bolivian costume with the classic bowler hat.

This mask represents a male moreno, or Moor, made in the 1980s from recycled tin.  The Moors obviously never reached Bolivia, but they are represented in honor of the Spanish reconquest of Granada from the Moors in 1492.  The morenos dance as a group of males and females, both wear an elaborate and colorful costume.  Males carry a scepter, whip, or matraca (rattle)  like the ones shown here.

For more on Bolivian masquerade, see Peter McFarren ed., Masks of the Bolivian Andes (La Paz: Editorial Quipus/Banco Mercantil SA, 1993).

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TITLE: Tastoan
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Jalisco
ETHNICITY: Nahua
DESCRIPTION: Turquoise Tastoan mask with ixtle fiber hair
CATALOG ID: LAMX038
MAKER: Betsabet Marín (Tonalá)
CEREMONY: Fiesta de Santiago el Apostól
AGE: 2014
MAIN MATERIAL: leather
OTHER MATERIALS: glue paste; lacquer; paint; stitching; ixtle fiber hair; woven plant fiber helmet

In parts of Jalisco and Zacatecas, the holiday in honor of Santiago el Apostól (St. James the Apostle) is held every 25th of July. Celebrants carry spears and dress in long pants, leather chaps, and boots, with demonic masks made of wood (Zacatecas) or molded leather (Jalisco) covered with a montera (headdress) of hair or plant fiber. The festival commemorates a battle between the indigenous warriors of the area and conquistadors. The appearance of the tastoanes, who represent indigenous warriors, conveys their ferocity through sharp teeth, large noses, and snakes, lizards, scorpions and spiders for decorations. This mask has images of the mythical creatures nahual and nahuala, half jaguar and half human, who symbolize the ferocity of the Tonaltecs. In some cases, the masks are dotted to convey the transmission of diseases such as smallpox and syphilis from the Spaniards to the indigenous peoples.

During the celebration, tastoanes and either three kings wearing ceramic masks or three Aztec priestesses (one representing the Tonaltec queen Tzapotzintli, also known as Tzuapili oor Cihualpilli) carry an image of St. James along a parade route and dance to music carrying swords or whips, after which they make defiant speeches and engage in a mock battle (jugada) with a participant carrying a whip who represents St. James.  At the end of the battle, all the tastoanes die and St. James is victorious. In some towns, an organization such as a Cofradía de Santo Santiago (Fraternity of St. James) organizes the event.

This specific mask has historic significance, as it was made and worn by the first female tastoan to ever participate in the Fiesta de Santo Santiago jugada of Tonalá, Betsabet Marín, in 2015. Although female tastoanes remain rare due to the risk of injury, they have increasingly participated since 2015.

Click above to watch a short documentary about the tastoanes of Tonalá, Mexico.

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TITLE: Convite Mask (Child’s)
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Guatemala
SUBREGION: Unknown
ETHNICITY: Mayan
DESCRIPTION: Mouse Convite mask for a child
CATALOG ID: LAGT024
MAKER: Unknown
CEREMONY: Baile de los Convites
AGE: 1960s-1970s
MAIN MATERIAL: wood
OTHER MATERIALS: paint

The Baile de los Convites (Dance of the Invited) is a ceremony that dates to the Spanish colonial period, but is probably the most mutable of all Guatemalan dances. The dance is performed on the annual holiday in honor of a town’s patron saint, and its name probably derives from the fact that celebrants from surrounding villages were invited to participate in larger towns.  It is unclear why masks and costumes became part of the dance, but the characters began as crude, handmade masks, and rapidly evolved to mimic characters from popular culture, including television, motion pictures, and video games.  Today, both mass-produced costumes and handmade costumes are used, often involving a considerable investment.  In some places, these dances are thinly-veiled status rituals—the more impressive the costume, the greater the credit for the dancer.

In the dance, captains (capitanos) organize the dancers into rows, and they dance in various configurations to the music of a marimba band.  Unlike in other Guatemalan dances, there is no plot or story.  This mask was made for and used by a child, and is made to resemble the mouse Jerry from the popular cartoon television series Tom & Jerry, which was broadcast from 1940 until 1967.

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

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TITLE: Viejo Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Hidalgo and Veracruz
ETHNICITY: Otomí
DESCRIPTION: Viejo (Old Man) Mask
CATALOG ID: LAMX036
MAKER: Ciriaco González (Carpinteros)
CEREMONY: Carnival; Danza de la Conquista
AGE: 1993
MAIN MATERIAL: wood
OTHER MATERIALS: paint

The village of Carpinteros is technically in the Mexican state of Hidalgo, but the town has spread into neighboring Veracruz.  It is inhabited by both mestizos and the indigenous Otomí people.  Like other areas of Mexico, Carpinteros has a tradition of dancing viejo masks representing old men during Carnival and other celebrations. This mask would also be used to represent a Spaniard in the Danza de la Conquista (Dance of the Conquest), portraying the Spanish reconquest of Spain from the Moors.

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TITLE: Commedia Plague Doctor
TYPE: face mask
GENERAL REGION: Europe
COUNTRY: Italy
ETHNICITY: Italian
DESCRIPTION: Plague Doctor Mask
CATALOG ID: EUIT004
MAKER: Lara Milanova (London, England, 1971- )
CEREMONY: Commedia dell’Arte; Carnival
AGE: 2011
MAIN MATERIAL: leather
OTHER MATERIALS: glass lenses; acrylic paint; brass buckles; brass O-rings

The Commedia dell’Arte was a form of public entertainment that succeeded the classical Roman theater in Italy.  Like classical theater, Commedia performers wore leather masks to represent stock characters and often performed in amphitheaters to large audiences.  However, the Commedia differed in having only a very basic plot sketch, with most of the lines invented extemporaneously by the actors.  The Commedia‘s ability to stay topical and its frequent resort to vulgar humor, combined with the considerable talent of Italian troupes that traveled throughout Europe, made this form of theater extremely popular throughout the early 17th to late 19th centuries. Masked actors had to compensate for their inability to convey facial emotion through posture, gesture, and vocal nuance.

During the period of the Black Death in Europe, doctors visited plague victims to verify whether they have been afflicted and to offer treatment.  Their outfit consisted of a wide brimmed hat to show that the man was a doctor, leather gloves and boots, a body-length linen gown covered in wax, and beaked mask with glass lenses to protect the face.  The beak was stuffed with spices to “purify” the air that the doctor breathed, because it was widely and erroneously believed that the plague was spread through the air.

To learn more about Commedia dell’Arte, see Pierre Louis Duchartre, The Italian Comedy (Dover Pubs., 1966).

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TITLE: Ogoni Elu Mask
TYPE: body mask
GENERAL REGION: Africa
COUNTRY: Nigeria
ETHNICITY: Ogoni
DESCRIPTION: Elu (Spirit) Mask
CATALOG ID: AFNG009
MAKER: Unknown
CEREMONY: Celebration; Funeral; Secret Society
AGE: 1960s-1970s
MAIN MATERIAL: wood
OTHER MATERIALS: kaolin clay; cotton string; dried reeds

The Ogoni people have managed to maintain much of their precolonial culture, including their masquerading traditions.  Masks are used by the Ogoni for many purposes. Some are reserved for members of secret societies having varying social ranks.  Others are mainly for entertainment.  The elu mask is an old form of a spirit mask.  In many African societies, the color white is associated with the spirit world.

Too small to be worn on the face, the elu is instead attached to a conical cloth cap that covers the entire head of the dancer. The hinged jaw causes the mask’s mouth to open and close during the dance with a clicking sound. Such masks are worn by members of secret men’s societies during festivals and at funerals of important members of the society.

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TITLE: Topeng Raja Putri
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Indonesia
SUBREGION: Bali
ETHNICITY: Balinese
DESCRIPTION: Raja Putri (Queen) Mask
CATALOG ID: ASID001
MAKER: Ida Bagus Anom Suryawan (Mas Ubud, 1953- )
CEREMONY: Topeng Dance Drama
AGE: 1990s
MAIN MATERIAL: pule wood
OTHER MATERIALS: gold-plated silver; colored glass; oil-based paint

The Topeng dance drama is an important traditional entertainment and education on the island of Bali, Indonesia. Its origin can be traced to the oral history of the Balinese people and venerable palm-leaf written histories, influenced by Hinduism imported from India. The dance may have originated as early as 840 CE. The stories depicted in this drama, called Babad Dalem, tell a political history of the islands of Bali and Java as written by the court poets of the regional kings.

This specific mask represents a character known as Raja Putri, the ideal queen or wife of a high ranking court official.  It was formerly played solely by men as a difficult solo dance, but it is rarely performed any more.

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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