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Between and Mortarboard

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10 UMMA Objects
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Centered in the page in this print are two figures in matching costume, one facing the viewer and one away. They are each dressed in a black suit with pink cumberbund and white socks and gloves. Each figure wears a cape with green interior; the back is white with vegetal and animal motifs in orange, pink, green, grey and black. On the left, the more-visible cape has a grey bird on one side and an orange horse on the other. As visible on the left figure, who faces away, there is a large black collar on the cape in the shape of a triangle, and off of the collar hangs a long pink piece of fabric.  Both figures wear white hats—shaped like umbrellas—that have large plumage of black, orange and green coming from a pole off the top. Lastly, as seen in the right figure, they wear a pink mask with a mustached face.
Carlos Mérida (Guatemalan)
Danza de los Paragüeros
1937 – 1939
Museum Purchase
1944.10
Centered on the page in this print are two figures. Both have oranged-tan skin, revealed by their bare chests, arms and legs. At their ankles, there are white bands with gold circles. On the left, the figure wears blue shorts with a wide white waistband. He faces away, on his head there is a headdress in the shape of a horned-deer that faces to the left, attached by a white cloth. The figure holds two yellow disks. On the right, the man wears slightly different draping knickers with a wide-white waist band that has small orange toggles hanging off the front and a white flap off the back. He wears a blue mask with a white, abstracted face painted on. The mask has gold fabric attached at the top and bottom to represent hair and a beard. This right figure holds a small blue box with white design.
Carlos Mérida (Guatemalan)
Danza de los Pascolas y el Venado
1937 – 1939
Museum Purchase
1944.8
Centered in the page on this print are two dark-skinned figures wearing pink-skinned masks. They are both dressed identically in white shirts and tights, with black boots, matching black knickers, and capes trimmed in gold. Each figure holds a small circular shield in one hand and a sword in the other—both in white. Both seem to be leaping in the air.
Carlos Mérida (Guatemalan)
Danza de los Santiagos
1937 – 1939
Museum Purchase
1944.5
This western Luba <em>kifwebe</em> (plural, <em>bifwebe</em>), a striated mask with parallel grooves, has a rectangular, box-like form. A dense raffia fiber beard has been tightly bound around the carved wooden face. The mask was crowned by a black and white cock feather headdress (now lost due to damage) that perfectly matched the black and white striations. The vertical and arching lines suggest the mask derives from the Manono region, yet the black and white coloring indicates it originates further northwest in the Kabalo area. Moreover, the mask possesses many stylistic features of Songye <em>bifwebe</em> including the stylization of the eyes, mouth, and saggital crest; however, this mask’s cubic shape makes it markedly different from Songye ones. Here, the mouth protrudes with square, pursed lips, the eyes appear as horizontal slits with slightly overhanging eyebrows, the crest extends from the forehead eventually forming the nose, and the chin is flat and wide. Faint traces of white clay (kaolin) appear
Luba (Luba (culture or style))
Mask
1935 – 1945
Gift of Candis and Helmut Stern
2005/1.219

Senufo (Senufo (culture or style))
Dance cap
1915 – 1925
Gift of Meryl Pinsof-Platt
1981/2.165
Centered on the page, this print shows two figures. The one in the foreground is wearing a grey cloak, while the one in the back has a blue cloak. Both figures have one orange boot, and orange hats. Also both figures are wearing red masks with stylized mustached-faces. The front figure holds an orange whip, and the back figure holds a white whip.
Carlos Mérida (Guatemalan)
Danza de los Tlacololeros
1937 – 1939
Museum Purchase
1944.4
This ovoid, wooden Bembe mask depicts a human face. The right half of the face, however, has been painted black, creating a bifurcated appearance. Its facial characteristics include large, almond-shape eyes set in rounded, ocular cavities; a slender nose; and, an open mouth painted white. Most striking, however, are the long, black and white porcupine quills that have been carefully tied around the mask’s perimeter, yielding a dramatic, formidable look.
Bembe (Bembe (Kongo))
Mask
1935 – 1945
Gift of Candis and Helmut Stern
2005/1.195
In this print, two figures are centered on the page. They both wear a red mask with a pronounced black beard and mustache. The figure on the right is in an orange-yellow gown with blue detail on the white lace trim and the figure on the left a blue gown, with orange-yellow details. Their gloves and shoes are both black. Both also wear white large hats that are bowl-shaped with white, blue, and yellow-orange lace motifs. The figure on the left carries a thin red flag on a white pole. 
Carlos Mérida (Guatemalan)
Danza de los Chinelos
1937 – 1939
Museum Purchase
1944.6
Etching depicting six scenes in which two costumed performers dance in response to each other.
Jacques Callot (French (culture or style))
Six Scenes from the Balli di Sfessania (Dance of Sfessania)
1616 – 1622
Gift of Professor Walter M. and Nesta R. Spink
2013/2.557
This wooden, zoomorphic Bembe <em>alunga</em> mask represents an owl. The mask has an elongated, bell-shaped form, with much of its base pigmented black. The owl has two white, oval-shaped, concave oracular cavities with protruding, half-moon eyes and a long, narrow beak. The foot of the mask features two serpents that have been carved in relief and painted red, both of which are surrounded by white, geometric motifs.  
Bembe (Bembe (Kongo))
Mask
1925 – 1935
Gift of Candis and Helmut Stern
2005/1.194
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