masks

TITLE: Kuba Lele Mask
TYPE: helmet mask
GENERAL REGION: Africa
COUNTRY: Congo, Dem. Rep. of
SUBREGION: Kasai River
ETHNICITY: Lele (Kuba)
DESCRIPTION: Helmet Mask
CATALOG ID: AFCD005
MAKER: Unknown
CEREMONY: Celebration; Funeral; Secret Society; Status
AGE: ca. 1980s
MAIN MATERIAL: wood
OTHER MATERIALS: cotton cloth; cowrie shells; beads

The Lele people are a subgroup of the Kuba ethnic group of the Democratic Republic of Congo, inhabiting the Kasai River basin. They dance masked on many occasions, including festivals celebrating the mythical founding of the people and funerals of important individuals.  Lele masks have affinities with those of the Kuba people more generally, but they have a distinctive flattened face.  Cowrie shells and glass beads were valuable trade goods and their use denotes wealth and status.

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TITLE: Halloween Devil
TYPE: face mask
GENERAL REGION: North America
COUNTRY: United States of America
SUBREGION: Southeast
ETHNICITY: Mixed
DESCRIPTION: Vacuform Devil Mask
CATALOG ID: NAUS016
MAKER: Star Band Company, Inc., Portsmouth, Virginia
CEREMONY: Halloween
AGE: ca. 1960s
MAIN MATERIAL: styrene plastic
OTHER MATERIALS: paint; phosphorescent paint; steel staples; elastic band

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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TITLE: Hormega Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Puebla
ETHNICITY: Nahua
DESCRIPTION: Hormega Mask
CATALOG ID: LAMX093
MAKER: Silverio Ochoa Martínez (San Juan Xiutetelco, 1944- )
CEREMONY: Danza de los Santiagueros
AGE: 1982
MAIN MATERIAL: wood
OTHER MATERIALS: paint

The Danza de los Santiagueros (Dance of the Saint James’s) is based on a mythical story of St. James the Apostle (Santiago el Apostól) exacting revenge on the enemies of Jesus, especially Pontius Pilate (Pilato, sometimes called Rey Pilato).  St. James may or may not wear a mask, but Pilato usually does.  Accompanying each side are their allies, santiagueros (not to be confused with St. James himself, who appears on pseudo-horseback, represented by a wooden horse figure tied around his waist) and pilatos (little Pontius Pilates) respectively.

The santiagueros wear red masks, and in some towns they have long noses and are called hormegas, a term with no known definition and whose origin is obscure.

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

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TITLE: Atoni Mask
TYPE: face mask
GENERAL REGION: Oceania
COUNTRY: Indonesia
SUBREGION: West Timor
ETHNICITY: Atoni
DESCRIPTION: Handheld mask
CATALOG ID: OCID012
MAKER: Unknown
FUNCTION: Status
AGE: 1970s
MAIN MATERIAL: polished hardwood
OTHER MATERIALS: N/A

The Atoni people make up the largest ethnic group on the island of Timor, which is politically divided between independent Timor-Leste to the east and Indonesian West Timor. The Atoni use two kinds of masks.  Ancestor masks are used for funerals, adult initiation, war victory celebrations, and other ceremonies commemorating major social events. Handheld masks like this one are used for a quite different purpose. It is believed that these masks were used for a socially acceptable form of stealing when a villager encountered hardship. By covering his face with a mask, the mask takes the blame for the theft and the person wearing it is exonerated. The mask thus helps the villager maintain “face,” as it were.

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TITLE: Bamana N’tomo Mask
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Mali
ETHNICITY: Bamana (Bambara)
DESCRIPTION: Painted N’tomo Society Mask
CATALOG ID: AFML002
MAKER: Unknown
CEREMONY: Secret Society; Social Control; Status
AGE: Late 20th century
MAIN MATERIAL: wood
OTHER MATERIALS: oil paint; hardware repair

The Bamana people, sometimes called Bambara, are one of the largest ethnic groups in Mali. They have six major secret societies of different levels of prestige that conduct adult initiation rituals. Initiates are taught survival skills, social customs, and religious principles. The N’tomo Society originally comprised only uncircumcised boys and teaches the virtues of silence and discipline. For this reason, the N’tomo Society masks tend to have small, closed mouths.

Many Bamana masks also have brass plating, unlike this one.  Blacksmithing and metallurgy play an important role in the N’tomo Society, so a brass covering greatly increases the status of a mask. However, the Bamana people, like many African peoples, are also fond of bright colors and use paint to increase the appeal of their masks.

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TITLE: Piaroa Warime Mask
TYPE: crown mask
GENERAL REGION: Latin America
COUNTRY: Venezuela
SUBREGION: Orinoco River Basin
ETHNICITY: Piaroa
DESCRIPTION: De’aruwa Ime
CATALOG ID: LAVE001
MAKER: Unknown
CEREMONY: Warime Ritual
AGE: 1980s
MAIN MATERIAL: bark cloth
OTHER MATERIALS: wicker; dried grass; beeswax; pigment

The Piaroa people inhabit the Orinoco River Basin region of Venezuela and northern Brazil. They are an extremely peaceful people with a political structure that anthropologists describe as nearly anarchic.

The warime ceremony is the biggest festival of Piaroa society. It includes a purification ritual in which masqueraders represent animal spirits and proclaim their deeds of the year to the tribe, good and bad, to seek respectively praise or forgiveness. This mask is called De’aruwa Ime and is worn straight up on the head, with macaw feathers coming out of the top, with the face and body covered in a dried plant fiber suit. Some believe this mask to represent a peccary. Other De’aruwa masks may represent a monkey, vampire bat, or bee (redyo). Masqueraders must receive religious instruction from a shaman beforehand, and his incantation is accompanied by music on traditional instruments.

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TITLE: Bidjogo Dugn-be
TYPE: helmet mask
GENERAL REGION: Africa
COUNTRY: Guinea-Bissau
SUBREGION: Bissagos Islands
ETHNICITY: Bidjogo
DESCRIPTION: Dugn-be (Village Ox) helmet mask
CATALOG ID: AFGW001
MAKER: Unknown
CEREMONY: Adult Initiation
AGE: 1970s-1980s
MAIN MATERIAL: wood
OTHER MATERIALS: plant fiber; cotton strips; kaolin clay

The Bidjogo people (also written Bijogo or Bidyogo) are a small ethnic group inhabiting coastal Guinea-Bissau. They continue to practice their animistic religion, resisting conversion to Islam unlike many neighboring peoples.  Their masks are primarily used in manratche, the adult initiation ritual for boys. There are actually multiple initiation rituals in Bidjogo society, ranking boys based on their age group. Unlike most African ethnic groups, the Bidjogo do not have specialized carvers; instead, each family makes its own masks.

The ox is an unusual masking choice in Africa, because normally masks are intended to invoke the power of wild animals and their special traits. In contrast, oxen are domesticated (dugn-be means literally “ox raised in the village”), brought to the Bidjogo by Portuguese traders late in the fifteenth century. The Bidjogo economy soon began to revolve domesticated cattle at least as much as their traditional fishing.

Initiates in the middle age group of boys wear the masks to celebrate the wild nature of post-puberty life. Masqueraders imitate the ox’s aggressive behavior. Initiation masks are critical to achieving the social status necessary for creating objects of religious worship used for entering the afterworld where the deceased becomes one with the Bidjogo god.

The Bidjogo use four different kinds of bull masks. The white triangle at the center of its upper brow marks this mask as a dugn’be. Dancers wear the mask attached to a long, cylindrical wood or wicker neck that rests on their shoulders with a raffia costume.

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TITLE: Kuba Mukenga Mask
TYPE: helmet mask
GENERAL REGION: Africa
COUNTRY: Congo, Dem. Rep. of
SUBREGION: Western Kasai
ETHNICITY: Kuba
DESCRIPTION: Mukenga helmet mask
CATALOG ID: AFCD002
MAKER: Unknown
CEREMONY: Funeral; Secret Society; Status
AGE: ca. 1960s
MAIN MATERIAL: cloth
OTHER MATERIALS: wood; glass beads; cowrie shells; leopard fur; thread; plant fiber; metal plating

The Kuba people of the Democratic Republic of Congo have several masks associated with royalty. The mukenga mask is associated with the highest status of the Babende initiation society through its invocation of the most powerful forest animals, the leopard and the elephant (note its trunk-like crest). Cowrie shells and glass beads were valuable trade goods and their use denotes wealth and status.

Mukenga masks are danced at funerals of titled nobility by members of the mukenga society. Because the mukenga masquerader has no vision (the helmet mask has no eye holes), attendants assist him to remain within the dance area. The mukenga dancer represents an important person visiting the village to pay respects to the deceased.

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TITLE: Parachico (Patrón) Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Chiapas
ETHNICITY: Mayan
DESCRIPTION: Patrón de Parachicos (Boss of Parachicos) Mask
CATALOG ID: LAMX002
MAKER: Unknown maker in Chiapa de Corzo
CEREMONY: Fiesta de San Sebastián
AGE: 1970s
MAIN MATERIAL: cedar wood
OTHER MATERIALS: oil paint; lacquer; glass eyes; synthetic eyelashes

The Baile de los Parachicos is unique to Chiapas, the southernmost region of Mexico, and is most commonly performed in Chiapa de Corzo and Suchiapa.  It may have pre-Columbian origins, but its modern version is believed to originate in the myth of a wealthy Spanish noblewoman whose sick child could not be cured by doctors in Guatemala. She eventually brought him north to Chiapas, and a Mayan priest recommended she bathe in the healing waters of Cumbujuyú for nine days.  After the child recovered, the woman held a feast of thanksgiving and her servants danced for the children. Hence the name, parachico, meaning “for the little boy.”  In modern times, the parade is held during the holiday of St. Sebastian, the patron saint of Chiapa de Corzo.

The dance begins with a parade of the parachicos through the streets led by a patrón, or boss (represented by this mask), which is somewhat more elaborate and distinctive than the others. All parachicos wear black pants with colorful embroidered designs, white shirt, a bright sarape, black leather boots, and they carry a tin rattle (sonaja).  As they parade, they echo phrases shouted by the patrón, such as:

“¡Vivan los que ya no pueden, muchachos!” (“Long live those who can’t do it any longer, boys!” or “Long live the elders!”)

“¡Viva el gusto de nosotros, muchachos!” (“Long live our shared tastes, boys!” or “Long live our traditions!”)

“¡Viva la mano poderosa, muchachos!” (“Long live the powerful hand, boys!” or “Long live God’s will!”)

“¡Viva la pandilla rica, muchachos!” (“Long live the rich gang, boys!” or “Long live the parachicos!”)

They may also shout out more or less improvised verses, devout or comical, such as “Little mermaid, little mermaid, sea mermaid, Praise the Holy One and señor St. Sebastián” or “Passing by your window, you threw me a lemon, the lemon hit my face, and went straight to my heart.”

They then perform a group dance to the sound of drums and marimba, guitar, or other instruments. Women in brightly colored floral dresses may accompany them in less formal dances.

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TITLE: Shamanic Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Nepal
SUBREGION: Middle Hills
ETHNICITY: Gurung or Magar
DESCRIPTION: Shamanic Mask
CATALOG ID: ASNP009
MAKER: Unknown
CEREMONY: Healing; Purification
AGE: mid-twentieth century
MAIN MATERIAL: charred wood
OTHER MATERIALS: N/A

This mask originates in the middle hills area of the Himalaya mountains, either from the Gurung or Magar people. Such masks are among the most primitive in use in the world, and are made by carving wood, coating it with yak butter fat, and charring it over a smoky fire.

The shaman plays an important social role as the channeler of spirits for healing, purification, and protection of those under his supervision. Masks help the shaman embody one of the spirits that surround the living world and use it to heal the sick, drive away evil influences, and guide villagers through changes in their lives (birth, adulthood, changes in social status, death) that might be affected by the spirit world. When hung in a house, the mask serves a protective function.  The Magar and Gurung people use very similar masks for identical purposes.

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