1. Sara Daley and Ashley Rimmel – RE 215
Native American Masks
Sara Daley and Ashley Rimmel – RE 215

2. What do we think about masks?
What do Native Americans think about masks?

3. Background Have been used since ancient times
Spiritual, healing, entertainment
Contemporary uses differ from historical uses
Placed importance on being able to ‘put a face with’ beings and spirits that were larger than themselves
Create a physical presence that an entire tribe could use and relate to
Used for many different purposes which vary from tribe to tribe
Regardless of the person, animal, or being that is depicted, the mask is an instrument to aid NA’s on their life quest
Today, seen as art and collected and sold – but to Native Americans, mask history remains a very private and important aspect of their lives

4. Materials Varied from tribe to tribe, region to region
Depicted animals, people, or spirits
Indians on the Northwest coast:
Used red cedar
Made three different types of masks
Simple face mask
Mechanical mask
Transformation mask
Materials included woods of all kinds, leather, and gourds
Often decorated with paints of all colors, animal hydes and hair, shells, and materials native to the region
Mechanical Mask – included strings and hinges that could be pulled or opened to reveal another aspect of the mask
Transformation Masks – most complex, up to three layers, only the strongest men wore these

5. Simple, Animal Mask
The owl in Kwakwaka'wakw legend represents the wise one and is a messenger.
Representation is key in creating the masks, here an owl is honored as being a wise animal.
The person wearing this mask would embody the trait of wisdom.

6. Simple, Portrait Mask
Pugwis or Man of the Sea, a Kwakwaka'wakw undersea spirit who is in the form of a human.
Embodiment of the sea spirit, called upon for luck with fishing and things relating to water

7. Meaning Masks were used in societies Potlatch ceremonies
Native people hold that:
Masks are living things
Deities are present
Wearer takes on the powers of the animal
It is an honor to be carved into a portrait mask
Masks were used in war societies, secret societies, and shaman societies for ceremonies and entertainment
During potlatch ceremonies, the most ornate masks were traded between the chiefs of neighboring tribes as peace offerings
Living things – whoever or whatever is being embodied is actually present at the site where it is being worn
Dieties are always present for this
Mask wearers and carvers were generally at the top of the hierarchy within tribes, so it was an honor to carve or wear a mask

8. Seneca False Faces (gagosa)
Found among many Iroquois people
Worn by a society of men at the “new year” and “corn” ceremonies
Bring forth the presence of the ‘bad brother’
Gagosa means “simply face”
Drive out the effects of witches and disease during these ceremonies
Also used by tribes for curing of illness
Masks represent the ‘bad twin’ who became destined, at the end of the Seneca creation story, to help reverse all of the evil he had created

9. Seneca False Faces (gagosa)
Painted red, black, or both
Living basswood tree
Distorted mouth and nose, hair
Manifestations of spirits present in dreams
Carved by a member of the Society of Faces to present an image from a dream

10. Kwakiutl Masks View of reality Creation of human beings
Fixed and eternal reality.
Why are they powerful?
- In this tribe the role of the mask is to understand the view of reality. According to our book, the view of reality is identified with a grid of relationships. This grid of relationships identifies a fixed number of positions, each with a name, referred to as a seat or standing place. This can also be determined by crests, which the masks are the highest forms.
- In these stories the creation of human beings occurred when the ancestor to the family lineage came down to earth, took off his animal mask, and became a human being.
- Only those individuals who obtain a name and privilege of wearing a mask at ceremonial performances enter into the “true reality.”
- For the Kwakiutl, the mask is what is real. They are important and powerful because of what they present :the spiritual reality, deities, or mythical creatures.

11. http://www. masksoftheworld

12. Looking through the Mask: The Hopi Case
Presenting initiates
Uninitiated cannot know about masks.
Once initiated, they are permitted to look through the eyeholes for the first time.
View from the eyeholes.
In this tribe it is a common practice at rites of initiation into societies to use masks. The uninitiated are not allowed to see the masks. When they are initiated they are permitted for the first time to look through the eyeholes for the first time. When they look through it they are seeing the effect it has on the world, which is why this is a privileged view of the initiated. They are able to know the reality the mask presents.

13. Kachinas Purpose of Kachinas
Three major ceremonies: Soyal, Powamu and Home Dance
During Hopi ceremonies the men of the tribe wear costumes and masks that closely resemble the Kachina that is being honored. The Hopi believe that these ceremonial acts serve many purposes, such as bringing good weather and bountiful crops.
There are three main ceremonies during the year that involve Kachinas. From December to July the Hopi villages come to life with different Kachina ceremonies. The first major ceremony is Soyal. During this ceremony Kachinas emerge from the kivas slowly as though they have been sleeping for a very long time. The dancers perform rites that are meant to strengthen the Hopi tribe for the upcoming harvest.
The second major ceremony occurs in late February. This ceremony is referred to as the Powamu, or the Bean Dance. The significance of this ceremony is the hope for a successful germination of the crops to be planted later in the spring. During this ceremony dancers distribute bean sprouts that have been grown in heated kivas prior to the ceremony
The third ceremony occurs in late July when the first maize of the season is ripe. This celebration is called the Home Dance. This ceremony is a way for the Hopi to give thanks to the many Kachinas who have assisted them with their crops. During this ceremony corn, melons, and fruit are carried by the dancers as proof of a bountiful harvest.
Source:

14. Kachina Dolls: Purpose of the dolls
Purpose of the dolls is to familiarize the children with the different Kachina spirits. They also help to "keep kids in line," as is represented in the Ogre Woman Kachina. This Kachina goes door to door before the bean dance demanding food. She leaves the Hopi girls a couple grains of corn and says that she will be back, and if she isn't given food she will take the children. When she comes back she asks the children if they have been bad. Sometimes she will begin to pull the children by their feet to give them the idea that she is going to eat them. Before she can take them away a relative appeases the Ogre by telling her that the child has learned her lesson, and that it will never happen again. The moral of the story is that children learn that they must work hard and do all they can to contribute to the food supply
Source: religion.com/World_Religions/Ancient_religions/North_america/hopi_religion .htm