A mask is not created ... it is birthed

A mask is not created ... it is birthed

One may think that the mask is created for its art form or expression of a culture. While this may be true, there are many other important reasons for creating a mask. Masks are the embodiment of spiritual energy which is perceived through dreams or contact with a spirit that desires to be channeled through the mask. So the creation of the mask may represent a family lineage;  or the mask may be needed for ritual use, yet, its creation will also benefit the entire community

When we see the mask in public festivals or ceremonies, many are entertaining and perform acrobatic feats which amaze the community. Yet, the primary functions of the masks are used to teach, instruct, protect, and bless. Many masks will never be seen in public because of their ritual use and those mysteries are closely guarded by the secret societies of each culture and people.

The mask is a vessel and the wearer of the mask becomes an integral part of its “being” and existing. The person wearing the mask is no longer himself:  through ritual, chants, offerings and prayers to petition the spirit of the mask, a possession takes over the wearer – it is not acting or pretend.

The headress, which we see in museums or displayed in homes, is not the mask. The mask is the entire representation “costume” from head to toe, which is why in many cultures, no part of the human body can be exposed. The term masquerade comes to be used, not by African expression, but rather Europeans trying to explain what they saw when visiting tribal communities, equating the “costumed people” as being in disguise – so the concept of “masqueraders” was deemed appropriate.

The use of masks was deemed “primitive” and was very misunderstood by Europeans. In fact, much of has been written or reported by people coming into contact with tribal communities is erroneous. With language often being an issue, communication was an obstacle, so the function and use of the mask within the tribe was left to their own interpretation and self report. Coupled with the fact that tribal communities venerated the “spiritual realm” and what Europeans considered polytheism  (the worship of many gods), the idea of the mask being primitive was reinforced. Even today, our westernized perception likens the masquerade to the pageantry of parades that we see on special occasions. As well, our Christian beliefs prevent us from truly perceiving the beauty of indigenous people who desire to connect with the spiritual energy of the universe and to understand that the concept of spirit possession is natural, and not evil.

Even with communication not being a barrier, the mysteries of the mask are safely guarded by the secret societies and there is much that will never be revealed, so our understanding will be veiled. However, what we can interpret are symbols, general understanding of functional use, key themes, which spiritual entity is being invoked, art styles of appearance and times when the masks will make appearance through ceremony.

Mask making in indigenous cultures is a mentored vocation. Children, most often male, are taught the craft while they are young and the process continues through their initiation or what we refer to as Rites of Passage from youth to adulthood. Then, certain individuals will be designated as craftsman or assistants, or handlers of the mask or the wearer of the mask.

In creating Spirit of the Masquerade, I position myself in the mind's eye and spirit of the artisan to create in my interpretation, the essence of the mask. There are times that I create with a specific culture and mask based upon my research; but, often I work from inspiration (perhaps through the dream work described above) and then seek to find the origin of the mask which asked to be born. So, the adventure has begun and will continue. With no guidebook or patterns to follow, I often find that the simplistic visual appearance of the mask, has very complex design elements, so the creative process also entails what is the best way to construct these masquerades.

Working with materials has been a challenge as well as substituting materials which will have longevity, because I want the Masqueraders to be around for a long time to be enjoyed, once they are born.