Juan
Horta
Mask
Carver
Tócuaro,
Michoacán,
Mexico
One
of the best traditional mask makers of Mexico, Juan Horta Castillo has
exhibited his art throughout Mexico and the United States. His masks
were selected by the “Ballet Folklorico de Mexico,” and are
featured in their world-wide performances. He is also a multiple first
prize winner of Mexico’s National Mask Maker competition. El Museo
de la Mascara (The Mask Museum) in San Luis
Potosi, Mexico, exhibits his masks as part of their permanent
collection. Don Juan has also been a featured artist at the Art
Institute of Chicago,
the Field Museum of Natural History, Brown University and numerous
colleges, schools and cultural centers throughout the United States.
TRADITIONAL
MASK MAKING
Mask making has been a tradition for centuries in Mexico. During pre-Hispanic times the Aztecs used masks as part of their religious ceremonies. After the Spanish Conquest, Christian traditions were incorporated into the folk art of mask making.
In the past, masks were worn in ritual dances and used by the dancers to represent persons or animals, the dance’s purpose was to tell a story in which the desired result was achieved through the magic of imitation.
“Pastorelas,” or Shepherd’s Play, is celebrated with a group of players who take their performance through the streets of the neighborhood, The players represent three devils (with devil masks), an angel, a hermit (with mask), shepherds and numerous villagers (with masks). The devils try to tempt the shepherds, and in turn are confronted by the hermit and the angel. In the finale, the devils are defeated. The shepherds, angels and hermit then proceed to adore the baby Jesus. The majority of the masks in this exhibition are from the Pastorelas.
Mexican masks are usually made of wood, with leather, bone, and often with genuine hair and teeth. They may also be fashioned from other materials such as animal shells and tin. The masks can be painted, lacquered, or left in a natural state.
The art of mask making demonstrates imagination, fantasy, and great decorative and creative talent.
MEXICAN
MASKING
The primary and most obvious function of a mask is to conceal the face of its wearer and to substitute another. However, scholars differ widely in their interpretation of mask iconography and the motivation for their continuing use in Mexican culture. Mask motifs are correlated with possible continuities from Pre Hispanic belief, and evidence for the persistence of shamanistic elements, particularly animal guardian spirits or nagual, also is stressed in their research. Masking is seen as a means of establishing communication with the supernatural in an attempt to influence powerful forces in nature.
Other scholars, such as Marion Oettinger, point out the importance of sacrifice on the part of the wearer. While the concept of sacrifice for the good of the community was of particular importance in Pre Hispanic Mexico, Oettinger observes that the sacrifice made by the mask wearer-of time, money, and physical effort-today serves as a means of fulfilling religious vows and obtaining the favor of the Catholic saints. For the participant, the focus is on the physical act of wearing the masks, rather than on detailed or symbolic knowledge of specific masks or dances.
In
any
case,
it
is
clear
that
the
wearing
of
masks
in
Mexican
dances
and
dance/dramas
serves
a
number
of
important
functions.
The
masks
and
dances,
which
are
handed
down
from
generation
to
generation,
are
a
source
of
pride
to
individuals
as
well
as
to
their
communities.
Masked
dances
also
reflect
the
values
of
a
culture,
teach
proper
behavior,
enforce
social
control,
redistribute
wealth,
and
maintain
social
balance,
while
providing
an
important
form
of
entertainment.
MASKED
DANCES
Mexican masked dances have been classified into five major categories: historical, Christian, occupational, nature-related, and entertainment-oriented. Historical dances relate to actual events occurring in the history of Mexico, such as the conquest by the Spanish; Christian dances primarily dramatize the triumph of Christianity over paganism; occupational dances reflect the duties and skills of those involved; nature-related dances relate to weather control and the fertility of crops and animals; and entertainment oriented dances are primarily for amusement or the teaching of social lessons.
Masked dances are usually performed in the feast day of a village’s patron saint, on general religious holidays such as Carnival or Christmas, and on national holidays. Dancers often perform in fulfillment of personal vows or as members of dance societies. Masks are usually worn only by men, who impersonate female characters as will. Woman may occasionally participate in certain dances, but they do not wear masks.
Community masked dance performances require huge expenditures of time and money. The successful presentation of masked dances is usually the responsibility of a community’s mayordomo, a voluntary civil-religious position held by a man or woman. However, it is more often a knowledgeable dance leader or maestro who selects and trains the dancers, choreographs the steps, and supervises the final performance. Musicians usually accompany the dancers, playing such instruments as the flute, tepanaztli or horizontal two-tone drum, huehuetl or vertical drum, harp, rasp, and violin. Each village usually holds one major fiesta a year, which serves as its source of community pride and status.
MASK
MAKING
Mexican maskmakers generally can be divided into three categories: the santero, the masquero, and the amateur carver. The santero specializes in creating figures for the Church. He usually carves realistic human characters employed in dances with Christian themes. Through Church connections he has access to fine materials and tools. His work is detailed often with moveable parts, and will finished. His masks are highly prized, in neighboring villages as well as his own, and are expensive to purchase.
The work of the masquero or professional maskmaker may more strongly reflect native traditions and dances. It is likely that the masquerero inherited the profession from his father and has had less formal training than the santero. He works with materials locally available and his pieces are more reasonably priced. Both he and the santero may rent masks to those who cannot afford to buy them.
Finally, dancers who cannot afford to buy or rent a mask must make their own. These masks are simply carved and painter and represent local tradition.
Masks vary is size from a few inches to over three feet; however, most are life-sized to fit over the face of the wearer. The majority of masks are carved of wood with zompantle or colorín, a light, soft wood, particularly popular. In some villages, wood must be cut at what is considered a proper time of year, or during a full or waning moon.
Occasionally masks are made of other materials, such as leather (pounded over a stone or wooden mold), clay, wax, gourd, and more rarely, wire mesh, silver, tin, or turtle shell. Today, there is also a movement by carvers towards the greater use of papier-mâché. Wood has become hard to obtain, and the molding of papier-mâché takes much less time than carving. These masks can be sold more cheaply to customers and are less durable, requiring that wearers frequently return for replacements.
After carving, with tools such as a machete, hand saw, knife, chisel, and gouge, the masks are smoothed with sandpaper and then brightly painted. Colored earth, minerals, or plants traditionally were used for the pigments, but today varnished enamel, aniline, and oil paints are more common. Additional materials are also used to embellish the masks, including glass eyes, human or animal teeth, wild boar bristles, horsehair, deer antlers, cow or goat horns, woolen tassels, bells, ribbons, tinfoil, leather, plant fiber, pochote tree spines, fur, armadillo hide, snakeskin, gourds, and animal claws.
Because masks are intended to be worn, certain practical requirements must be considered. The inner surface of the mask must be well-smoothed or covered with cloth for the comfort of the dancer. Breathing holes and eye holes also are added. Holes are often drilled at the sides and top or the mask for the attachment of wearing cords. Cords, made of leather, ixtle fiber from the maguey plant, straw, or cloth, are attached across the back and over the top of the head. Some masks, however, are simply held in front of the face with the hands.
In some areas, the masks themselves are believed to contain great power, and certain taboos often must be observed during their making and wearing. If these behavioral rules are broken, the masks may inflict severe punishment. Some masks are also believed able to move or blink their eyes on their own. Treasured older masks are frequently repaired with nails, metal strips, or glue, and are repainted many times to freshen their color.
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