Mayo Pascola Masks by Pedro Sanchez

This week I have the pleasure of introducing a Sinaloa Mayo carver whose masks I have long admired, although I didn’t know his name. Nor did I have one of his masks in my collection. Rather, I coveted these masks in other people’s collections. In 2016 I was thrilled to discover this carver’s name on several masks in the collection of Barney Burns and Mahina Drees, and I even acquired one of those for my collection. He is Pedro Sanchez of  El Bajio (Municipio El Fuerte), Sinaloa.

I will start with the one that is now in my collection. This mask was collected from Francisco Valenzuela of Eido Los Torres in the Municipio of El Fuerte, Sinaloa at an unrecorded date. He reported that the mask had been made by Pedro Sanchez, of El Bahio, Sinaloa, in approximately 1982.

Flanking the forehead cross there are flowers shaped like stars.

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Mayo Pascola Masks by Guillermo Valenzuela of Camajoa, Sinaloa

Sometime in the 1990s, Tom Kolaz found a pair of Mayo Pascola masks in the Sinaloa style in a Tucson resale shop. These were not accompanied by any provenance. He passed them along to me, at a time when we both thought that they would remain forever anonymous. And for me, their owner, they did remain anonymous for about 20 years, until I photographed the collection of Barney Burns and Mahina Drees in 2016 and there found identical masks by a named carver. Most of those masks were said to have been carved by Guillermo Valenzuela, while one was attributed to his brother Andres Valenzuela. I consulted Tom Kolaz, who reported that he too had eventually collected some additional masks that were attributed to Guillermo. Some had actually been sold by Andres Valenzuela, who sometimes identified himself as the carver. It is Tom’s opinion that masks in this style should all be attributed to Guillermo Valenzuela.

Here is one of those that I bought from Tom Kolaz in the 1990s. Then, as now, Mayo Pascola masks from Sinaloa were uncommon, and seldom available to collectors, so I bought them whenever I could.

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Pablo Pacheco III

In this final post about the Pascola masks of Pablo Pacheko I will show some unusual masks from the collection of Barney Burns and Mahina Drees, ending with one more of mine. We will look at masks with vulture or turkey (?) faces, one with a parrot face, and a few more with canine faces. I will start with the vultures.

The first of these lacks Pablo’s typical style of forehead cross, and we will see a variety of crosses on today’s masks. It does have his usual painted lower eyelashes. Documentation is lacking re dates and length of use.

I suppose that this could be a turkey or a turkey vulture.

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Pablo Pacheco II

Barney Burns and Mahina Drees collected many masks that had been carved by Pablo Pacheco. Most of these had been briefly danced by Pablo, and some by other Mayo Pascolas. Pablo’s masks are a particular favorite of Mahina. Today I will show you a series of Pablos’ masks with goat or human faces that were collected by Barney and Mahina in the latter 1980s, just one view of each to demonstrate the range in their collection. First here are some Goat Pascola masks by Pablo. As I said in last week’s post, most of Pablo’s goats follow a predictable design, with minor variations. This one has an extended tongue.

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Pablo Pacheco

Today I want to introduce you to the masks of Pablo Pacheco of Rincon Aliso, Sinaloa.

Tom Kolaz obtained this mask from a runner in Sinaloa in 2009, and sold it to me in 2010. By that time Pablo was deceased. The mask had been made circa 1980. The initial owner, Concepción Ontiveros, had been given this mask by a relative as a gift. He was a teacher by day, and a Pascola during fiestas. Although he was the usual wearer of the mask, he also taught his pupils to dance as Pascolas, and he allowed them to wear it sometimes, when they were dancing.

This mask has the long hair that is favored by Sinaloa Pascola dancers. It has wonderful patina.

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Masks by Saturnino Valenzuela From Another Private Collection

In the last two posts we looked at masks by Saturnino Valenzuela that had been in the personal collection of Barney Burns and Mahina Drees. They had kept many danced examples, even as they bought and sold many of his undanced masks to Indian Arts Dealers and collectors. Today I will show you some additional masks from another private collection that were also carved by Saturnino. Several of these seem extraordinary to me. I photographed these when they were in the collection of Jerry Collings.

The first is a copy by Saturnino of a circa 1900 Yaqui mask that he had apparently seen in a photograph. It was collected by Roberto Ruiz in 1982, after it had been danced for two years.

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Human Faced Masks by Saturnino Valenzuela From the Collection of Barney Burns and Mahina Drees

Barney Burns and Mahina Drees kept many danced examples of masks carved by Saturnino Valenzuela for their own collection, even as they bought and sold many of his undanced masks to Indian Arts Dealers and collectors. Today we will examine nine of those “keepers” that have human faces, along with one at the end that depicts the devil. This is just a sampling.

The first is one of my favorites from this collection, an old and worn human faced mask. It was collected in 1986.

Stars flank the forehead cross.

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Made For Sale Masks By Saturnino Valenzuela

This week I will focus on made for sale masks by Saturnino Valenzuela. He made masks for various markets—dancers, collectors, and tourists. Today’s masks were brought up from Sinaloa to Indian Arts Dealers in Southern Arizona by Barney Burns and Mahina Drees, as they were intended to be sold to tourists and collectors. I bought them from those dealers, one by one, because I wanted to collect the full breadth of Saturnino’s work, including traditional and more fanciful designs; you will see both. Saturnino died several years ago, and I display these in his memory.

The first two are traditional in design, although, like some you saw last week, they represent “Apaches,” or North American Plains Indians. I bought this one in July, 2000.

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Sinaloa Mayo Pascola Masks

The Mayo Indians live in two adjacent Mexican states, Sonora and Sinaloa. Those in Sonora live in towns along the Rio Mayo, while those in Sinaloa live along the Rio Fuerte. There is apparently just enough distance between these two areas to have allowed differences to develop between their traditions. However we know so little about these differences. One obvious detail is that historically the Mayo Pascolas in Sonora have only rarely used animal faced Pascola masks, while those in Sinaloa have embraced Goat faced masks since the middle of the 20th century and perhaps for much longer. Therefore,  as we turn our attention to Mayo Pascola masks from the Rio Fuerte towns we will see a mixture of Human faced and Goat faced masks. We will also see again a profusion of made for sale masks that don’t adhere to such traditions.

Much of what we do know about Sinaloa Mayo mask traditions has resulted from the activities of traders such as Barney Burns and Mahina Drees. I introduced them in my post of August 22, 2016. Here is a link to that post.

As you may recall, Barney and Mahina encouraged Indians in a number of Northern Mexican states to produce their traditional arts and crafts for a North American audience, thus providing these subsistence farmers access to cash and modern materials that requires cash to acquire. Then they sold these crafts to Indian Arts dealers in the United States. Along the way, they also collected objects that they found particularly interesting, such as danced masks. One of the Sinaloa carvers, Saturnino Valenzuela, stands out as a prolific and talented artist, so I will begin with his masks. Today we will examine four of those that I purchased from Tom Kolaz in 1998. Three of the four had been danced. These masks served as my introduction to this carver.

The first of these has a very long beard.

Otherwise this example is very representative of Saturnino’s style. Almost all of his masks have:

1. this rim design of small gouged triangles painted in alternating colors,

2. a forehead cross that has been carved in relief, and

3. additional decorative elements that are carved in relief, such as flowers, stems of flowers, and even flower pots. This mask has flowers with stems on the cheeks.

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