TITLE: Batak Karo Gundala
TYPE: face mask
GENERAL REGION: Oceania
COUNTRY: Indonesia
SUBREGION: Sumatra
ETHNICITY: Karo Batak Toba
DESCRIPTION: Gundala Mask
CATALOG ID: OCID009
MAKER: Unknown
CEREMONY:
FUNCTION: Agriculture; Entertainment
AGE: ca. 1950s
MAIN MATERIAL: wood
OTHER MATERIALS: natural pigment

The Karo people are a subgroup of the Batak Toba and inhabit the northern part of the Indonesian island of Sumatra.  They have largely resisted proselytization and adhere to traditional animistic beliefs and practices.  Gundala masks such as this one were traditionally used to pray for rain at seed sowing time, or as comical entertainment for the community leaders during major festivals.

:

TITLE: Dan Maou Mask
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Côte d’Ivoire
ETHNICITY: Maou (Dan)
DESCRIPTION: Koma Society Mask
CATALOG ID: AFCI002
MAKER: Unknown
CEREMONY: Secret Society; Social Control
AGE: Late 20th century
MAIN MATERIAL: wood
OTHER MATERIALS: burlap; cowrie shells; raffia fiber; iron bell; cotton wadding; string; kaolin clay

The Dan people are a large ethnic group inhabiting Liberia and Côte d’Ivoire.  In the northwest region of Côte d’Ivoire is the Dan Maou, a subgroup of the Dan. The Maou are largely governed by a variety of secret societies that use masquerade to enforce social norms and punish witchcraft and sorcery. The Koma society uses this anthropomorphic bird-beaked mask to detect and punish sorcery.

For more on Dan masks, see Eberhard Fischer, Dan Forest Spirits: Masks in Dan Villages, AFRICAN ARTS, Vol. 11, No. 2, pp. 16-23 (1978).

:

TITLE: Halloween Black Mask
TYPE: face mask
GENERAL REGION: North America
COUNTRY: United States of America
ETHNICITY: Mixed
DESCRIPTION: Buckram “Negro” (Black Man) Mask
CATALOG ID: NAUS027
MAKER: Unknown
CEREMONY: Halloween
AGE: ca. 1920s-1930s
MAIN MATERIAL: buckram
OTHER MATERIALS: paint

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 such as this one, depicting highly offensive racial stereotypes, were popular prior to the 1980s, but are no longer used by civilized persons.

This specific mask, representing a generic stereotyped black male (at the time, the terms “colored” and “negro” were considered proper), was made from buckram, moistened and dried over a form, then hand painted with details. Such mass-produced masks were popular among the middle class in the 1920s to 1950s, when they were replaced by vacuformed plastic.

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.

:

TITLE: Diablo de Tropa
TYPE: helmet mask
GENERAL REGION: Latin America
COUNTRY: Bolivia
SUBREGION: Oruro
ETHNICITY: Quechua and Aymara
DESCRIPTION: Diablo de Tropa (Troop Devil) Mask
CATALOG ID: LABO001
MAKER: Unknown
CEREMONY: Carnival (La Diablada)
AGE: ca. 1970s
MAIN MATERIAL: recycled tin sheet
OTHER MATERIALS: paint; metal springs; glitter; glue

The Diablada is an important part of Carnival in several towns in the Altiplano region of Bolivia, Peru, and northern Chile.  The Diablada of Oruro, Bolivia, is famous for the large numbers of participants and the elaborateness of their masks and costumes.

The dance dates back to pre-colonial times and was adapted under the influence of the Spanish missionaries to conform to the Catholic doctrine of the struggle between good and evil.  The dance begins with the Archangel Michael commanding personified seven virtues against Lucifer and his personified seven deadly sins and an army of male and female devils.  Other non-European characters, such as the Andean Condor and the jukumari bear, also play a role.

The dance typically occurs in the course of the parade, with marching bands playing musical scores dating back to the 17th century.  In practice, the dance includes both male and female devils dancing in a group led by (rather than opposed by) the Archangel Michael.  Troop devils (diablos de tropa or demonios de tropa) are the standard parade devil, with dragons on the head to represent ferocity.

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

:

TITLE: Noh Ko-Jō
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Japan
ETHNICITY: Japanese
DESCRIPTION: Ko-Jō Kyo-Kei (Old Man) Mask
MAKER: Takiyama Ichiemon (Iso Tanba City, Hyogo, Japan, 1940- ) and Ohoshima Jyunji (Fukuchiyama City, Kyoto, Japan, 1930- )
CATALOG ID: ASJP016
CEREMONY: Noh Drama
AGE: 2011
MAIN MATERIAL: wood
OTHER MATERIALS: paint; horse hair; acrylic string

The Noh theater evolved from a combination of Chinese Nuo opera, popular village entertainment known as Sarugaku, and courtly Bugaku dance to become a uniquely Japanese form of high culture. Noh, or Nōgaku, probably first emerged as a distinct form of theater in the 14th century.  A wide variety of plays developed over the ensuing three hundred or so years, with masked characters playing an important role in most.  The masks require the actors to communicate through posture, body movement, and vocal control, whose perfection requires years of intense training.  Although the masks prevent the actor from using facial expression, the most expertly carved masks can be made to express different emotions at different angles, so that he actor can change facial expression by the tilting his head.

This mask is known as Ko-Jō (or Ko-Jyo) and is a kind of Jō-Kei (old man mask) created by the famed carver Koushi Kiyomitsu in the late 14th century. This specimen was acquired from Inoue Corporation of Kyoto.

For more on Noh masks, see the excellent book by Michishige Udaka and Shuichi Yamagata, The Secrets of Noh Masks (Tokyo: Kodansha International , 2010).


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

:

TITLE: Fasnet Teufel Mask
TYPE: hood mask
GENERAL REGION: Europe
COUNTRY: Germany
SUBREGION: Swabia
ETHNICITY: Swabian
DESCRIPTION: Teufel (Devil) Mask
CATALOG ID: EUDE006
MAKER: Uwe Thaler (Altensteig, 1964- )
CEREMONY: Fasnet (Carnival)
AGE: 2006
MAIN MATERIAL: cedar wood
OTHER MATERIALS: paint; lacquer; goat leather and fur; fox tail; LED lights and hardware

In many parts of Swabia and Bavaria, Carnival (usually called Fasnet or Fastnet in this region of Germany) is celebrated with parades of witches, devils, and clowns.  The devil parades are organized by guilds, all members of which wear similar costumes and masks.  Each town has its own guilds. Their purpose is to usher in the spring with joy and laughter and frighten away the winter.

This specific mask was used in Ehningen by the Würmdal-Deifels Guild from 2006 until 2012.

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).

:

TITLE: Senufo Kpelie
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Côte d’Ivoire (Ivory Coast)
ETHNICITY: Senufo
DESCRIPTION: Kpelie Mask
CATALOG ID: AFCI015
MAKER: Unknown
CEREMONY: Adult Initiation; Agriculture; Celebration; Funeral
AGE: ca. 1990s
MAIN MATERIAL: ebony wood
OTHER MATERIALS: n/a

The Senufo people and reside primarily in Côte d’Ivoire, with some also living in Burkina Faso and Mali. The kpelie mask is used by men’s societies for the initiation of boys into adulthood, in funerals of important villagers, and in harvest festivals celebrating and giving thanks to the gods for a bountiful harvest.

The kpelie is always worn by men, but it combines the features of an ideal woman and an animal, such as an antelope, ram, or hornbill (as here), along with fertility symbols, such as palm nuts. The scarification marks represent the Senufo ideal of female beauty. The two appendages that always extend downward from the mask represent symbolic legs that tether the spirit to the earth.  The figure on the head, whether it is an animal, ancestor, or symbol, depend on the caste group to which ancestor represented by the mask belonged. The hornbill, for example, is linked to metal smiths.

The masquerader will dance to traditional music and singing while holding an iron staff or a horsetail whisk and wearing a robe composed of knotted diamonds (the shape believed symbolic of the cycle of life) and a long raffia fiber collar and cuffs to disguise the hands.

:

TITLE: Tourist Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Veracruz
ETHNICITY: Nahua
DESCRIPTION: Tourist (Turista) Mask
CATALOG ID: LAMX147
MAKER: Antonio Vázquez Tepo (Xico, 1933-2017)
CEREMONY: Carnival; Santo Entierro de Cristo
AGE: 2016
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint

Santo Entierro de Cristo (“Sacred Burial of Christ”) is an important festival in parts of Veracruz, particularly in the region of Teocelo, and is celebrated on the last Sunday in January. During the festival, clowns wearing red-nosed masks, animals, devils, and other characters dance to drum and trumpet music along a parade route, clicking castanets, and accompanying an image of the burial of Jesus of Nazareth. The route proceeds from the local church to a large floral arch dubbed El Calvario, where mass is held. The procession is accompanied by drums and trumpets. Sometimes other masked characters, such as animals, tourists, and cartoon characters accompany the parade.  Such masks are also worn at other celebrations, most prominently Carnival and the Asunción (“Assumption,” referring to Jesus’ mother Mary passing into Heaven), held on August 15th.

This mask pokes good-natured fun at tourists who visit Teocelo to watch the celebration.

:

TITLE: Moor Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Puebla
ETHNICITY: Nahua
DESCRIPTION: White, black and red “cardface” Moor mask
CATALOG ID: LAMX157
MAKER: Pedro Sol Sánchez (Tuzamapán de Galeana, 1945- )
CEREMONY: Danza de los Moros y Cristianos
AGE: 2017
MAIN MATERIAL: wood
OTHER MATERIALS: oil-based paint; hardware

The Danza de los Moros y Cristianos (Dance of the Moors and Christians) reenacts the reconquest of Spain by the Christians from the Muslim Saracens.  The story was taught by 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. Important characters include Spaniards, Moors, saints, angels, and devils. This Moro takes a form typical only in the village of Tuzamapan and is commonly known as an “enamorado” (lover) or “card face” Moor, because the makers there often include symbols from playing cards (hearts, spades, diamonds and clubs). More recently, designs like this one have been inspired by the masks used in the popular lucha libre (wrestling).

:

TITLE: Pilato Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Veracruz
ETHNICITY: Nahua
DESCRIPTION: Pilato (Moor) Mask
CATALOG ID: LAMX176
MAKER: Lino Mora Rivera (Naolinco de Victoria, 1956- )
CEREMONY: Fiesta de San Mateo (Danza de los Pilatos)
AGE: 2013
MAIN MATERIAL: equimite wood
OTHER MATERIALS: oil-based paint; string

The Danza de los Pilatos, also called La Danza de los Moros y Cristianos (Dance of the Moors and Christians), 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, as here, skeletons. This mask represents a Moor in his original form but no longer popular, with a human face. It was carved by the master craftsman, Lino Mora Rivera and used by him and his family for several years.  The scratches result from blows by wooden swords, inflicted by the santiagos during mock battles between the Christians and Moors.

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.

: