Exhibition hall 1

The Other Faces of Guatemala

The use of masks in Guatemala has an almost millennial tradition. In the Mayan world, masks allowed for the representation of gods and supernatural beings during ceremonies and rituals. They were also used as funerary masks, accompanying the deceased and strengthening them on their journey to the underworld.

With the arrival of the Spanish, ancient traditions linked to the use of masks were reinterpreted in the colonial context. Missionaries incorporated this practice into theatrical performances and dances intended for evangelization, giving rise to new expressions where European and indigenous elements coexisted.

Among the best known are the Baile de la Conquista (Dance of the Conquest), which depicts the clashes between Spaniards and Mayan peoples during the conquest of Guatemala; the Danzas de Moros y Cristianos (Dances of Moors and Christians), inspired by Spanish medieval tradition; and the Danza de los 24 Diablos (Dance of the 24 Devils), with profound religious and moral content. Some of these performances also feature characters like Hernán Cortés and La Malinche, emblematic figures of the conquest of Mexico who, over time, became part of the repertoire of Guatemalan colonial dances.

Alongside these manifestations of colonial origin, masks representing various animals, linked to ancient pre-Hispanic dances and beliefs, remain in use. Carved entirely from wood, these pieces reflect the continuity of Mayan traditions and the enduring cultural heritage that continues to transform and be passed down from generation to generation.

Claudio Rama

Blue Mask
Wood (Carved – Painted – Glass)
Guatemala, 20th Century
Claudio Rama Collection

Dance of the Conquest

The Dance of the Conquest is one of the most important traditional performances in Guatemala. Originating in the 16th century in the context of evangelization, it recreates the confrontation between the Spanish conquistadors and the Maya peoples, focusing on the conquest of the K’iche’ kingdom by Pedro de Alvarado.

The performance begins with the arrival of Spanish emissaries at the court of the K’iche’ king. Among its main characters are Pedro de Alvarado, Tecún Umán, considered a hero of Maya resistance; his lieutenant Huitzitzil Zunun; the priest Ajitz; and the so-called Malinches, characters specific to the dance’s theatrical tradition. The story culminates with the confrontation between Pedro de Alvarado and Tecún Umán, the defeat of the K’iche’ kingdom, and the beginning of the evangelization process during the colonial period.

The masks used in this dance represent both indigenous and Spanish characters. Those of the conquerors are distinguished by their prominent mustaches and beards, features that identify the European within the performance. More than simple costumes, these masks are ritual objects: by wearing them, the dancers embody the characters and allow the community to relive episodes of its history, reflect on the past, and keep alive a tradition passed down from generation to generation.

Mask
Wood (Carved – Painted – Glass)
Guatemala, 20th Century
Claudio Rama Collection

Mask
Wood (Carved – Painted – Glass)
Guatemala, Santiago de Atitlán, 20th Century
Conquest Dance
Claudio Rama Collection

Mask
Wood (Carved – Painted – Glass)
Guatemala, 20th Century
Claudio Rama Collection

Mask
Wood (Carved – Painted – Glass)
Guatemala, Santiago de Atitlán, 20th Century
Conquest Dance
Claudio Rama Collection

Spanish or Conquistador Mask
Wood (Carved – Painted – Glass)
Guatemala, Late 20th Century
Conquest Dance
Claudio Rama Collection

Mask
Wood (Carved – Painted – Glass)
Guatemala, Santiago de Atitlán, 20th Century
Conquest Dance
Claudio Rama Collection

Mask
Wood (Carved – Painted – Glass)
Guatemala, 20th Century
Claudio Rama Collection

Dance of Moors and Christians

The Dance of Moors and Christians originated in the Iberian Peninsula, where it emerged as a festive representation of the clashes between Christian and Muslim kingdoms during the Middle Ages. With the arrival of the Spanish in America, these representations were incorporated into evangelization strategies and used to spread Christianity among indigenous peoples.

The dance recreates, through theater, music, and masks, the confrontation between the two sides. In this narrative, the Christians represent the victory of the Christian faith, while the Moors symbolize their adversaries. During the colonial period, these representations contributed to transmitting the values and worldview promoted by the conquerors.

In Guatemala, the dance was adopted by numerous communities and, over time, became part of local celebrations, incorporating elements specific to each region. In the municipality of Mixco, it is performed during the festival of Santo Domingo de Guzmán, founder of the Order of Preachers (Dominicans), becoming an expression that combines European and indigenous traditions.

Christian Mask
Wood (Carved – Painted – Glass)
Guatemala, 20th Century
Claudio Rama Collection

Mask
Wood (Carved – Painted – Glass)
Guatemala, 20th Century
Claudio Rama Collection

Mask
Wood (Carved – Painted)
Guatemala, 20th Century
Claudio Rama Collection

Dance of the 24 Devils

The Dance of the 24 Devils is one of Guatemala’s most representative cultural expressions. Originating from the municipality of Ciudad Vieja, in the department of Sacatepéquez, it is a tradition with colonial roots that has been declared Intangible Cultural Heritage of the Nation.

The dance emerged during the 16th century as part of the evangelization strategies promoted by Franciscan friars. Through theater, music, and masks, it sought to transmit religious teachings about the destiny of the soul, the consequences of sin, and the struggle between good and evil. Over time, this performance was incorporated by local communities, becoming a deeply rooted tradition that is now part of the festivities dedicated to the Virgin of the Immaculate Conception.

The performance brings together various characters. The Great Devil or King leads a legion of devils, each symbolically associated with a human sin or vice. Alongside them appear other fundamental characters, such as the Angel, the Soul, Death, and the Monkey, who develop a narrative in which the forces of good and evil confront each other. More than a simple theatrical performance, this dance constitutes a living expression of Guatemalan cultural heritage, in which religious, theatrical, and festive elements coexist.

Devil Mask
Wood (Carved – Painted)
Guatemala, 20th Century
Claudio Rama Collection

Masks of Death

Death plays an important role in Guatemala’s festive traditions and rituals. Depicting death through masks transforms an abstract concept into a visible character that can take part in dances, stories, and celebrations.

The two masks in this collection feature white faces and different expressions. One displays a wide set of teeth, while the other has a more restrained expression with small fangs.

These representations remind us that masks do not merely reproduce human or animal faces. They also give form to characters linked to fundamental concepts such as death, good, evil, life, and the supernatural world.

Death Mask
Wood (Carved – Painted)
Guatemala, 20th Century
Claudio Rama Collection

Danza del Torito

The Danza del Torito is a festive tradition found in various communities throughout Guatemala, especially in the highland regions. Its origins are linked to the colonial period and the introduction of cattle and bullfighting by the Spanish. Over time, these practices were incorporated and transformed by indigenous communities.

In its various versions, the dance depicts a hacienda and the relationships among its different characters—landowners, foremen, cowboys, and bulls—through scenes that combine music, dance, and theater. In some versions, the story culminates with the foreman’s death at the hands of the bull.

The dance is performed primarily during patron saint festivals and constitutes an expression of cultural syncretism, in which elements introduced during the colonial era were integrated into indigenous traditions and forms of celebration.

The bull masks, carved from wood, allow the dancers to incorporate the animal as the central character of the performance.

Bull Mask
Wood (Carved – Painted)
Guatemala, 20th Century
Claudio Rama Collection

Three-Faced Mask

This unique mask is an example of the religious syncretism that characterized many indigenous communities in Guatemala during the colonial period. From the 16th century onwards, evangelization promoted the creation of cofradías (brotherhoods), institutions that combined elements of Catholic tradition with practices and beliefs of Maya origin. Many of these cofradías remain active today, especially in the Guatemalan highlands.

In regions such as Sololá and Santiago Atitlán, religious celebrations integrate images and characters from Christian tradition with figures deeply rooted in Maya spirituality, such as Maximón or Rilaj Mam. This process of cultural exchange and transformation gave rise to unique ritual expressions, in which symbols from different traditions coexist.

The features of this mask—such as the beard, multiple faces, three eyes, and oblique gaze—have led to various interpretations. For some researchers, the beard refers to authority figures introduced during the colonial era, while the multiple faces and eyes could symbolize the ability to see beyond the visible world or to act as a mediator between the human and spiritual realms. More than possessing a single meaning, these elements reflect the symbolic richness and complexity of Maya ritual traditions.

Maximón Three-Faced Mask
Wood (Carved – Painted)
Sololá, Late 20th Century
Claudio Rama Collection

Malinche

Malinche, also known as Doña Marina, was an Indigenous woman who served as an interpreter for Hernán Cortés during the conquest of Mexico. She appears in numerous traditional performances related to the conquest and is featured in various versions of the Dance of the Conquest in Guatemala.

Her presence in these dances illustrates how 16th-century historical figures were incorporated into popular theater and reinterpreted by communities over time.

The figure of Malinche carries diverse meanings. She may appear as an interpreter and mediator between different groups, but she has also been portrayed from perspectives that view her as a collaborator with the conquistadors.

The masks allow us to observe how these traditions construct and transform historical memory, turning past events into narratives that continue to be reenacted in the present.

Malinche Mask
Wood (Carved – Painted)
San Marcos, 20th Century
Claudio Rama Collection

Malinche Mask
Wood (Carved – Painted)
Totonicapán, 20th Century
Claudio Rama Collection

The Dance of the Convites (or Dance of the Guests)

The Dance of the Convites, also known as the Dance of the Guests, emerged during the colonial period as part of the festivities dedicated to a community’s patron saint. Its name refers to the invitation extended to inhabitants of neighboring towns to participate in the celebration, fostering encounters between different communities.

Over time, these festivities incorporated increasingly varied masks, costumes, and characters. The first masks, crafted by hand, evolved to represent figures from history, politics, religion, and, more recently, popular characters from daily life, cinema, television, or contemporary culture.

More than reproducing a single story, the convites constitute a festive manifestation in constant transformation. Through music, dance, and masks, each community expresses its creativity, reaffirms its identity, and keeps alive a tradition that continues to renew itself generation after generation.

Nahuala Mask
Wood (Carved – Painted)
Guatemala, 20th Century
Claudio Rama Collection

Nahuala Mask
Wood (Carved – Painted – Glass)
Guatemala, 20th Century
Claudio Rama Collection