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<\/a><\/p>\nNote the long brow hair and the extremely long beard, in the tradition of Sinaloa Mayo masks and characteristic of recent Rio Mayo masks.<\/p>\n
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There is a colorful rim design that could be found on a Yaqui or Mayo Pascola mask.<\/p>\n This is the nose of a clown (payaso<\/em>).<\/p>\n There is no forehead cross.<\/p>\n Nor is there a chin cross.<\/p>\n This mask is 8\u00be inches tall, 5\u00bd inches wide, and 3 inches deep.<\/p>\n There is a Yaqui style cross carved on the inside of the forehead of this mask. There is not clear evidence of staining from use, but the cross on the back makes one wonder if it might have been danced after all.<\/p>\n The second mask by Estaban Gonz\u00e1lez Leva has the face of a pig. One usually sees this face on Yaqui masks such as those of Cheto \u00c1lvarez.<\/p>\n There is no forehead cross.<\/p>\n The rim design does remind one of Yaqui masks.<\/p>\n And as a matter of fact, the hot pink paint on this mask was also favored by Cheto \u00c1lvarez.<\/p>\n However, the mouth was hollowed out by the artist, a detail that I have never seen on a Yaqui Pig Pascola mask.<\/p>\n This mask is 8 inches tall, 5\u00be inches wide, and 4\u00bc inches deep.<\/p>\n There is no staining from use. However, also note the very thin walls of this mask, and of the last, the work of an excellent carver.<\/p>\n Here is the first of three masks by Juan Nieblas, who was definitely a Rio Mayo carver. This mask and the two that follow were intended to be danced in 2007, had they not been purchased from the dance group by a collector.<\/p>\n This mask has a traditional design.<\/p>\n The forehead cross is flanked by triangles painted in contrasting colors.<\/p>\n There is no chin cross.<\/p>\n This mask is 8 inches tall, 5\u00bd inches wide, and 4 inches deep.<\/p>\n If there is any staining from use, it is minimal.<\/p>\n The second mask by Juan Nieblas is maroon in color.<\/p>\n There are crosses on the triangles under the eyes.<\/p>\n There is a simple rim design of painted lines in contrasting colors.<\/p>\n There is a traditional forehead cross.<\/p>\n This mask is 8 inches tall, 5\u00be inches wide, and 4 inches deep.<\/p>\n There is no indication of staining from use.<\/p>\n The third mask by Nieblas is orange in color. Is this meant to represent a Caucasian complexion?<\/p>\n By now we have seen many Rio Mayo masks with extended tongues.<\/p>\n There is a discontinuous rim design of painted triangles, another very familiar element.<\/p>\n This forehead cross is much like the last.<\/p>\n This mask is 7\u00bd inches tall, 5 inches wide, and 3\u00bcinches deep.<\/p>\n There is no staining from use. By now you may have noticed that Juan’s masks have a characteristic appearance, front and back, and that the hair bundles are apparently glued in place, rather than stitched or pegged.<\/p>\n Next week we will look at some masks from Vado Cuate, a Rio Mayo town that is far upriver from the coastal towns.<\/p>\n Bryan Stevens<\/p>\n","protected":false},"excerpt":{"rendered":" Today, sweeping up some of the last of my unposted masks from the coastal Mayo towns, I am starting with two attractive Pascola masks by Estaban Gonz\u00e1lez Leva, which I bought in 1995 from INAH, a government museum shop in … Read More <\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n