The Transforming Powers of Masks

By Carolina Matheus,
for Olga Fisch Folklore.

Why are masks a universal form of expression throughout the entire world since ancient times? From pre-Colombian shaman ritual masks, to Noh theater masks in feudal Japan, there seems to be something alluring about covering one’s face and adopting multiple forms of expression. Maybe it’s because behind a mask one can be transformed, adopt a new personality, and behave without social conventions and inhibitions. As one graphic design artist notes: “In many communities, masks played a major role in rites of passage and in spiritual rituals, often as symbols of victory in war or of dominion over nature. Masks are also used for theater, movies, and during holiday celebrations. Others are more mysterious... and make us wonder about the mask’s creator, wearer, and its purpose.”

Ecuador is no exception. A wide array of colorful handmade masks for several festivities can be found. Perhaps the most interesting, because of their symbolism and popularity are the “Año Viejo” and the “Corpus Christi” masks.

AÑO VIEJO:
BETTER LUCK NEXT YEAR!
During the 31st of December, all of Ecuador becomes a sea of smoke, fire, and ashes. This because of an odd tradition, in which Ecuadorians construct large effigies representing political figures, or other famous people, which are burned to the ground, while firecrackers blast. Often, a handwritten note is pinned to the dummy explaining all the regrets and disappointments from the past year which must be eliminated. Others read the dummy’s “will” which are usually very clever verses recalling events of the year. Meanwhile, one may be shocked to see the dummy’s’ “widows” (men dressed in drag), “crying” and asking for money to compensate for the loss of their husband, the old year. In some regions, a “new year” effigy of a child is placed next to the New Year as a symbol of hope. This ritual is charged with symbolism. It is a virtual “catharsis” in which the old is abolished, and amidst the ashes, hope of the birth of a better, New Year, is born.

RECYCLED PAPER
A key aspect of the effigies is the mask which must embody political figures, journalists, or international figures. How are the paper masks made? It would seem a simple process since the masks are rather rustic. However, in order to allow the masks to take shape, a clay mold, or virtually a clay sculpture must first be made. Next, brown paper bags recycled from remains of sugar bags are combined with 8 layers of old newspaper glued together with yucca (a potato-like root) starch to make a kind of glue, for the paper maché. Then, the mask is dried and white paint is added to hide the newspaper print. The artisans then paint the mask bringing the figures to life. Finally, a varnish is added to give it some shine. Now they are ready! Throughout the streets once can see vendors selling an eerie display of presidents, next to a Fidel Castro or a George Bush, and recently, even Shrek or Tweety Bird, staring sadly, waiting to be burned.

A “SELF-MADE” MAN
Who makes these masks and how did this tradition get started? Its origins are obscure. Some say it may have Pre- Colombian origins. At any rate today, there are artisans who specialize in keeping the tradition alive. This is the case of Vicente Paredes, a barber/artists who has been making several types of masks since 1971. How did a barber end up making masks? It all started when he was forced to leave home at only thirteen years old, when his mother became a widow with seven children! He came to Quito to find his fortune, and worked as the understudy of a barber. As the years went by, he was able to start his own barber shop. Traditionally, masks for the end of the year festivities were always sold in barber shops. One year the prices of the mask were too high, and he ventured out to make his own masks. After decades of experimenting, and making a mess, he now has a costume store, with all types of masks, from paper maché to fiber glass, adjacent to his barber shop. During December, the masks are sold at the shop, and to other vendors who resell throughout Quito. Artisans like Mr. Paredes, help keep this tradition alive.

LET’S DANCE FOR
THE BODY OF CHRIST!
Another popular mask made in Ecuador is one used by the Corpus Christi, dancers in June throughout most of the villages of the highlands. The Corpus Cristi festivities are part of the Catholic religious calendar which commemorates the Body of Christ. In our country, it has becomes a colorful synthesis of Spanish and indigenous traditions in which a Catholic mass, music bands, fireworks, and most of all dancing, is intertwined. Perhaps the most famous of the Corpus celebrations takes place in Pujili village, (near Ambato). The protagonists are the dancers which have beautiful costumes and head pieces, and of course, a mask. These masks are rather simple in comparisons to the elaborate headpieces. They are made out of wire mesh in a double press mold, paint is added to make simple features which usually represent a white man. A mustache from pig hair is added, at it’s ready. However, this simple mask has the amazing quality. It totally transforms the facial features, while at the same time leaving air to breathe freely. The dancer can adopt a new personality, free of social conventions. Also the mesh gives enough air to breath, which is very helpful for a dancer who is performing all day under the summer sun!

In our daily life we have learned to put on several masks. We act happy when we are sad or vise versa. As Asian Art museum curator Hiroshi Sugimoto reflects: “The face is the sight of human emotions. We might even say each of us becomes a person by mastering the highly specialized skills required to express emotions by means of our facial instrumentation…. as the mind changes constantly: so does the mask.” In the case of Ecuador, the Old Year mask, as well as the Corpus Cristi masks, allows us to facilitate a transformation process. Whether it be casting off negativity from the past, or freeing us to dance without inhibitions, the mask still remains an important symbolic object in Ecuadorian folklore.

Sources:
• Interview: Vicente Paredes.
• Bob Ibold www.masksoftheworld.com.
• Albuja, Ana. Enciclopedia de Fechas Cívicas y Festividades de Ecuador, Cultural Ediciones: Madrid. 2007.

Photographs:
Iván Ceballos