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Pilato Mask

TITLE: Pilato Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Puebla
ETHNICITY: Nahua
DESCRIPTION: Pilato (Pontius Pilate) Mask
CATALOG ID: LAMX102
MAKER: Teodoro Tacuepian Galván (1911-2013, Zacapoaxtla)
CEREMONY: Danza de los Santiagueros
AGE: 1970s
MAIN MATERIAL: wood
OTHER MATERIALS: paint

The Danza de la Conquista (Dance of the Conquest) in Mexico can refer either to the conquest of the Aztecs by the Spaniards or to the conquest (properly, reconquest) of Spain from the Saracens by the European Christians. This mask is used for reenacting the latter conquest, which is frequently and more correctly called the Danza de los Moros y Cristianos (Dance of the Moors and Christians) or, in the state of Puebla, the Danza de los Santiagueros (Dance of the St. Jameses). This dance was shaped 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 (called either Moros or Pilatos), saints, angels, and devils.

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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Negrito Mask

TITLE: Negrito Mask
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Puebla
ETHNICITY: Nahua & Mixtec
DESCRIPTION: Negrito (Little Black) Mask
CATALOG ID: LAMX105
MAKER: Teodoro Tacuepian Galván, Zacapoaxtla (1911-2013)
CEREMONY: Danza de los Negritos
AGE: 1970s
MAIN MATERIAL: wood
OTHER MATERIALS: paint

The Danza de los Negritos (Dance of the Little Black Men) is a common theme in Mexico. Such dances are found in states as distinct as Hidalgo, Michoacán, Oaxaca, Puebla and Veracruz. In most versions of the dance, the negrito characters represent African slaves brought to Mexico to work in the fields and mines. In the version common in Puebla, where this mask originates, the negritos dance to help revive the snake-bitten son of a woman known as the Maringuilla (played by a man). The snake (carved of wood) is imprisoned during the dance and, at the end, symbolically killed to cure the invalid.

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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Clown Mask (Child’s)

TITLE: Clown Mask (Child’s)
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Veracruz
ETHNICITY: Nahua
DESCRIPTION: Child’s Mask of a Payasita (Female Clown) or Novia (Girlfriend)
CATALOG ID: LAMX167
MAKER: Rafael Mesa Oliva (1978- , Naolinco de Victoria)
CEREMONY: Carnival; Fiesta de San Mateo (Danza de los Pilatos)
AGE: 2013
MAIN MATERIAL: equimite wood
OTHER MATERIALS: oil-based paint; string

The novia or girlfriend and payasita (little female clown) are popular Carnival characters in Mexico, almost always danced by a man wearing a female clown costume or some other feminine attire. In Naolinco, Veracruz, she may also be danced in the Danza de los Pilatos, also called La Danza de los Moros y Cristianos (Dance of the Moors and Christians), which 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 skeletons. Some of the characters are not obviously evil, such as Apaches (representing indigenous Americans) or this payasita, but they are portrayed as Moors nonetheless. This specific mask is slightly smaller than the adult size and was danced by older children.

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.

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Tastoan

TITLE: Tastoan
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Mexico
SUBREGION: Zacatecas
ETHNICITY: Nahua
DESCRIPTION: Tastoan Mask
CATALOG ID: LAMX180
MAKER: Unknown
CEREMONY: Fiesta de Santiago el Apostól
AGE: 1920s
MAIN MATERIAL: wood
OTHER MATERIALS: oil; horse hair; hardware

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 goat hair, horse 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.

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 the past, all tastoanes were male, but recently women have begun to participate as well.  In some towns, an organization such as a Cofradía de Santo Santiago (Fraternity of St. James) organizes the event.

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Wayang Wong Ravana

TITLE: Wayang Wong Ravana
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Indonesia
SUBREGION: Bali
ETHNICITY: Balinese
DESCRIPTION: Ravana Mask
CATALOG ID: ASID014
MAKER: Ida Made Sutiarka, Singapadu (1974- )
CEREMONY: Wayang Wong
AGE: 2018
MAIN MATERIAL: pule wood
OTHER MATERIALS: leather; cotton; oil-based paint; gilded silver jewelry; rhinestones; mirrors; gold leaf; string

The Wayang Wong dance drama retells parts of the Hindu epics, the Ramayana and the Mahabharata. These epics revolve around the god Rama and his battle with the demon king Ravana, who has abducted Rama’s wife, Sita. In the end, Rama retrieves her with the help of the wily monkey god, Hanuman.  This mask represents the antihero Ravana, whose nature is somewhat ambiguous in Hindu lore. On one hand, he is generally thought to have been a capable king. On the other, his evil deeds doom him to retribution at the hands of Rama and his allies.

For more on Balinese masks, see Judy Slattum, Masks of Bali: Spirits of an Ancient Drama (San Francisco: Chronicle Books, 1992).


Video of a Wayang Wong performance in Bali, Indonesia.

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Ekoi Ekpo Crest Mask

TITLE: Ekoi Ekpo Crest Mask
TYPE: crest mask
GENERAL REGION: Africa
COUNTRY: Nigeria
ETHNICITY: Ekoi
DESCRIPTION: Ekpo Society Ancestor Mask
CATALOG ID: AFNG001
MAKER: Unknown
CEREMONY: Ikem Ceremony
FUNCTION: Secret Society; Funeral
AGE: 1990s
MAIN MATERIALS: wood; antelope leather
OTHER MATERIALS: pigment; kaolin clay; wicker

The Ekoi people, also known as the Ejagham, inhabit the extreme southeastern region of Nigeria and parts of Cameroon. They are a hunting and farming people who live in scattered communities. Each community has a Ngbe or Ekpo (Leopard) Society that helps coordinate political and social events.

Most Ekoi masks take the form of a helmet or crest that sits atop the head. Unlike the masks of other African peoples, Ekoi masks are covered in antelope leather. In the distant past, the skin of killed slaves was used, but now antelope leather is common. Ancestor spirit masks such as these are used by the Ekpo Society, are worn at funerals and other secret society rituals. In the rituals, ceremonial plays known as Ikem (“sharing one heart and mind”) are performed to venerate the ancestors.  The mask is fixed to the dancer’s head and adorned with raffia fiber to hide the dancer’s face and body.

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Chokwe Mwana Pwo

TITLE: Chokwe Mwana Pwo
TYPE: face mask
GENERAL REGION: Africa
COUNTRY: Congo, Dem. Rep. of
ETHNICITY: Chokwe
DESCRIPTION: Mwana Pwo (Young Woman) Mask
CATALOG ID: AFCD010
MAKER: Unknown
CEREMONY: Entertainment; Spirit Invocation
AGE: ca. late 1970s
MAIN MATERIAL: wood
OTHER MATERIALS: cotton netting

The populous Chokwe people of Angola, the Democratic Republic of Congo, and Zambia are known as some of the most skilled wood carvers in Africa. They resisted colonization far longer than most peoples of the region, despite repeated incursions by the Portuguese and other Europeans.

The Chokwe use masks in many contexts. The mwana pwo (young woman) mask invokes the spirit of a female ancestor in her most beautiful youth. The dark skin, decorative forehead and cheek scars, high forehead, narrow nose, and filed teeth represent the idealized Chokwe female. The mwana pwo is mostly danced for purposes for entertainment at festivals, but it is thought to increase the fertility of the women who attend.

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Yup’ik Inua Mask

TITLE: Yup’ik Inua Mask
TYPE: face mask
GENERAL REGION: North America
COUNTRY: United States of America
SUBREGION: Alaska
ETHNICITY: Yup’ik
DESCRIPTION: Inua Owl Mask
CATALOG ID: NAUS031
MAKER: Unknown
CEREMONY: Entertainment; Healing; Spirit Invocation
AGE: 1970s
MAIN MATERIAL: cedar wood
OTHER MATERIALS: pigment; snow goose feathers

The Yup’ik (or Yupik) people inhabit western and southern Alaska and the Chukotka region of Russia. They currently number some 24,000 individuals who survive in some of the harshest climates of the world. The Yup’ik survived by hunting caribou, rabbits, and marine mammals, especially walrus, seals, and whales. Their traditional religious beliefs are shamanistic, based on the belief that certain animals and birds are sacred. Their masked rituals are oriented toward ensuring a successful hunting and giving thanks for past hunts, storytelling, and healing ceremonies by shamans (angalkuq).

The masks are typically made of wood, decorated with feathers, and painted with only a few colors. They could be carved by men or women under the direction of a shaman. Masks were formerly destroyed after use. Christian proselytization has suppressed the use of masquerade in Yup’ik cultures today, but it continues in some segments of the population.

This mask depicts an inua, in the form of an owl. An inua is one of the natural spirits that inhabit humans or animals interchangeably. Appeasing the inua by showing respect and gratitude was considered essential to successful hunts.

For more on Yup’ik masking traditions, see the excellent monograph by Anne Fienup-Riordan, The Living Tradition of Yup’ik Masks (University of Washington Press 1996).

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Macho Mask (Child’s)

TITLE: Macho Mask (child’s)
TYPE: face mask
GENERAL REGION: Latin America
COUNTRY: Nicaragua
ETHNICITY: Nahua
DESCRIPTION: Macho (Mule) Mask for Child
CATALOG ID: LANI001
MAKER: Unknown maker in Diriamba
CEREMONY: El Güegüense Dance Drama
AGE: 1970s
MAIN MATERIAL: wood
OTHER MATERIALS: gesso; paint

El Güegüense is a culturally important Nicaraguan play originating in seventeenth century Diriamba and written by an anonymous author. It was originally called Baile del Güegüence, ó Macho-Raton, translated literally as “The Dance of the Old Man, or Male Mouse.” The play, which is considered the first classic of Nicaraguan literature, ridicules greed, moral corruption, and the troubled relations between Spanish colonists, mestizos, and indigenous people. It is performed annually in Diriamba during the Feast of St. Sebastian, from January 17th to 27th.

As performed today, most characters wear masks and dance to the music of the native flute (pito), violin, guitar, and drum during the performance.  Among the characters are several machos, or mules, sometimes numbering twelve or more.  This mask represents one of the smaller mules and would have been played by a child.

For more on the Güegüense, see The Güegüence; A Comedy Ballet in the Nahua-Spanish Dialect of Nicaragua (Daniel G. Briton ed., 1883).

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Topeng Patih Manis

TITLE: Topeng Patih Manis
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Indonesia
SUBREGION: Bali
ETHNICITY: Balinese
DESCRIPTION: Patih Manis (Prime Minister) Mask
CATALOG ID: ASID010
MAKER: Unknown maker in Tegallalah
CEREMONY: Topeng Dance Drama
AGE: 1950s
MAIN MATERIAL: pule wood
OTHER MATERIALS: goat hair and leather; paint; string; rubber band

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 Patih Manis, who is the prime minister in the royal court. He has a mild temperament, which is reflected in his facial expression.

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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