Masks from around the world
Introduction
People have manufactured masks or decorated their faces to disguise
themselves and frighten others for many thousands of years. Masks have been
used on joyous, mystical and unpleasant occasions. A warrior or soldier would
have used war paint or a helmet to help scare an enemy in battle. Coming of
age in many societies was marked by a masked ceremony and contact with
ancestors was maintained through the use of masks.
Masks feature in the cultural and sacred traditions of many countries. The
erosion of some of these traditions, often through the influence of western
culture, has removed the true meaning of the masks and rituals, yet in other
places, Hong Kong or Sri Lanka, for example, the traditions are as vibrant as
ever. The type of masks vary considerably in construction, use, materials used
and their durability. Such is the variation that on initial observation there seem
to be few common links. However, wherever masks are used, be it simply for
light-hearted disguise at a masked ball, or a shaman’s link to his ancestors,
masks are all designed to disguise or change the identity of the wearer.
Masks can be formal, informal, for amusement, or sacred, yet they hold the
power of giving the wearer an extra dimension not available in normal guise.
Some masks are common to us all: take the persona assumed through wearing
a business suit (power dressing!), the heavy make-up of a beauty counter
assistant, the motorcycle helmet, the police riot helmet, the judge and his wig,
or how about the persona assumed by the teacher on entering the classroom, a
mask of the true self?
From an artistic and design point of view masks allow us to explore the artistic
and cultural traditions of many cultures, both ancient and modern, and to come
to terms with different styles of expression. For the anthropologist, they allow an
insight into the mental make up of other cultures. For the collector, they are a
means of holding exotic and unique works of ethnic art.
The art of Africa, especially the carvings and masks, influenced the work of
artists at work late last century and into the early part of the present one.
Picasso, Braque and Epstein each has work which resulted from strong African
influences.
Many examples are exotic, mysterious and colourful, yet there are many masks
which are common everyday objects. The root of our modern words: personal,
person, personality, etc. is persona, which is the Latin name for the masks worn
by actors.
The notes which follow are designed to introduce some of the cultures of the
world in which masks have been and are still used and to present some
methods of mask making for use in the classroom.
A brief overview of masks
To place the masks of the world in context, the previous list will be given some
additional detail.
Europe
In France, at Trois Freres, the caves inhabited by Paleolithic people have
hunting scenes painted on the walls showing masked dancers. The central
figure of one of the scenes shows a shaman-like character wearing the head
and antlers of a stag in amongst the reindeer, bison, stag, horse and ibex. The
link to masquerade traditions of today can be made through the use of horns,
fur, feathers and the animal forms adopted.
In Greece, the cult of Dionysius used masks to represent the spirits of nature
and bestow these spirits upon the wearers. Gold sepulchral masks covering the
faces of the dead have been excavated in Mycenae. In Greek theatre, actors
used masks to show different characters. This tradition was carried on in the
Roman theatre. In medieval mystery plays, masks were used to portray
characters. Devil masks were used in carnivals, as they are today in Spain.
In Britain, there are traditional animal masquerades that use various forms of
the hobby horse as a focus. These are to be seen in Lands End, Bwca Lwyd in
Wales, Thanet in Kent and between 30th April and 3rd May in Minehead in
Somerset. Some of these festivals are linked to Morris dances. The Morris
dance, in some versions, has an animal-masked fool who entertains the
spectators with tricks. The ghostlike Mari Lwyd in Glamorganshire is in stark
contrast to the other brightly-coloured traditions. This ghostly hobby horse has
been linked to the Irish horst of the feast of Samain where the ancient Celtic
festival is led by a white-robed man bearing a crude horse’s head.
An unusual event is the Horn Dance of Abbots Bromley in Staffordshire. Six
pairs of dancers each carry a wooden deer’s head with a pair of antlers
attached. A hobby horst and other characters support them.
Another variety of masked character common to British folk festivals is the one
associated with agricultural cycles. Notable ones are the Bury main, in West
Lothian, who wears a hat and a balaclava planted with roses, and the straw clad
man who appears in Whitby on the Saturday before Plough Monday. Similar
straw clad figures are also known in Ireland.
Eastern Europe
Hungary, Romania, Bulgaria and Poland each have masquerade traditions
which use animalistic and figurative interpretations of faces.
Hideously masked characters blowing horns parading through the streets of
Hungarian towns such as Fejer are not uncommon. This particular festival uses
cloth masks with untidy beards and eyebrows worn beneath felt hats streaming
with ribbons. Additionally carved wooden female masks are worn. Similar
festivals can be seen in Maramures where noisy mid-winter parades are held in
The paper masks and the forms are very much influenced by the work of
Michael Grater and his book, The Complete Book of Paper Faces, published by
Dover. I have used, copied and adapted his basic forms to suit my own work but
l constantly refer to his book when stuck for ideas. I recommend that you buy it
(see Bibliography).
Fantasy bird mask
This mask is made from one piece of paper and uses that tension and rigidity
caused by bending and joining to create a very expressive form reminiscent of
the Kwakiutl bird masks.
1. Follow the outline used here and experiment in miniature to achieve the
desired form.
2. Once you understand the structure then design your own form. Cut the
mask out from a folded sheet to ensure symmetry.
3. Join the lower beak pieces.
4. Join the back of the lower beak to the rear of the head, as in the diagram,
leaving enough space for the wearers head.
5. Shape the mask to suit the expression desired. If it is intended to decorate
the mask then this is best done by using coloured papers or others applied
materials. Painting is best done when the paper is still flat as the paper
absorbs the liquid in the paint and distorts the form. Strong simple
decorative elements tend to suit performance best.
The basic helmet form
1. The basic helmet is used to build any other more complicated paper or
sheet material mask upon its supporting structure.
2. The central strap which goes over the head can be either part of the main
cutout or applied separately.
3. The size is cut to suit the wearer.
4. Joints can be of any type which suit the materials used. Staples are the
quickest in paper and other thin materials but not the tidiest.
5. The helmet may be simply decorated as it is or used to form the base of
some of the more elaborate forms to follow.
6. The format may of course be adapted to suit heavier or lighter structure

 

Using sheet materials

 

Foam sheet

 

Foam sheet comes in many types and thicknesses. The most commonly

available is the Plasterzote in 6mm thickness. Other Plasterzote is available as

off-cuts if you can find a supplier. Ordinary furnishing foam may be used if it can

be obtained in thin enough sheet.

 

Flat front and back joined at the edges:

 

1. Make a paper template and test to fit the wearer.

2. Cut front and back.

3. Check fit, cut eyes and mouth and nose if required.

4. Join using staples Copydex or other contact adhesives.

5. Make and fix all additional features.

Note: for edge gluing cut accurate curves or straight lines to the profile required

and glue using contact adhesive or Copydex applied to both surfaces and used

as a contact adhesive.

 

Tube forms

 

The tube is a very quick and direct way of making a strong surface to work from.

1. The tube is made to fit and the eye holes cut.

2. Apply surface decoration.

3. For greater variation cut and shape both top and bottom.