The Other Faces of Guatemala - 2

Exhibition hall 2

Animal Masks in Mayan Traditional Dances

Animal masks are part of an ancient tradition of the Maya peoples and hold a prominent place in numerous ceremonial and festive dances. Their forms represent species present in the indigenous worldview, where animals are not only protagonists of myths and traditional stories but also beings endowed with deep spiritual significance. In many Maya communities, these beliefs are related to the figure of the nahual, a spiritual bond between people, animals, and the forces of nature.

Over time, these masks continued to be used in various traditional dances, incorporating new meanings without losing their deep cultural roots. Among them are the Deer Dance, the Tocontín, the Topocomad, the Dance of the Huehuetecos, the Dance of the Conquest, the Toritos, and many other expressions that keep alive a tradition passed down from generation to generation.

Carved entirely from wood, these masks reflect the continuity of Mayan traditions and the vitality of a cultural heritage that continues to transform and renew itself to this day.

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

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

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

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

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

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

Dance of the Conquest

The Deer Dance (Xajoj Kej, in the Poqomchi’ language) is one of the most important ritual expressions of the Poqomchi’ Maya people of Guatemala. It represents the ancient hunting ritual and expresses the relationship of respect, reciprocity, and balance between humans and nature. Through the dance, thanks are given and sustenance is requested, recognizing the deer as a fundamental being within the natural world and community life.

During the performance, various characters participate, including the deer, hunters, dogs, and other animals, symbolically recreating the ancient hunting ritual. More than a celebration of this practice, the dance expresses respect for animals and the importance of maintaining a harmonious relationship with nature.

The Poqomchi’ people, primarily settled in the departments of Alta Verapaz, Baja Verapaz, and part of Quiché, keep alive numerous traditions linked to their worldview. Their cultural identity is expressed in their language, still spoken by more than 90,000 people, as well as in their agricultural practices, gastronomy, and ceremonies.

The Deer Dance continues to be performed today as a manifestation of Maya cultural heritage, passed down from generation to generation. This celebration reflects the continuity of an ancestral tradition that, far from remaining static, has managed to transform and remain vital as an expression of the identity and memory of the Poqomchi’ people.

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

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

Dance of the Monkeys (or Dance of the Flying Pole)

The Dance of the Monkeys, also known as the Dance of the Flying Pole, is a tradition with pre-Hispanic roots inspired by an episode from the Popol Vuh, the sacred book of the K’iche’ Maya. According to this account, the brothers Jun Batzy Jun Ch’owen were transformed into monkeys by the Twin Heroes, Hunahpú and Xbalanqué. Since then, monkeys have been closely linked to art, music, and creativity, and these characters are considered patrons of artists, musicians, and scribes in Maya tradition.

Currently, the dance is part of the festivities dedicated to Saint Anthony in the town of San Antonio Senahú, from where it has spread to other regions of Guatemala. During the performance, a dancer dressed as a monkey descends from a tall pole using ropes, performing acrobatics to the rhythm of the marimba and flute.

At the same time, it constitutes a living expression of Maya cultural heritage, which has endured and transformed over time without losing its profound significance for the communities that keep it alive.

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

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

Patrón Mask

In the Nahualá region of Guatemala, the Pátzcar Dance is performed, considered one of the country’s oldest traditions. Various masked characters participate in it, who, through dance and theatrical representation, transmit teachings about community life and social values.

Among the protagonists are the Patrón and the Patrona, characters who represent the old landowners or figures of authority of European origin. Their masks are distinguished by their formal features and by reflecting the image of the power sectors during the colonial period, establishing a marked contrast with the indigenous characters in the performance.

Patrón masks are usually carved from wood and hand-painted. A characteristic feature of this type of piece is the representation of eyebrows through paint, rather than carving them in relief, a detail that distinguishes them from other masks used in traditional Guatemalan dances.

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

Tecún Umán Mask

Tecún Umán is considered the national hero of Guatemala and a symbol of the resistance of the Maya peoples against the Spanish conquest. According to tradition, he died in combat facing Pedro de Alvarado during the conquest of the K’iche’ kingdom.

One of the most widespread legends tells that when Tecún Umán fell, a quetzal descended and landed on his body, staining the feathers of its chest red with the warrior’s blood. Since then, the quetzal has become a symbol of freedom and identity for Guatemala.

The figure of Tecún Umán continues to be present in numerous traditional dances, where he represents the courage, resistance, and historical memory of the Maya people.

Huitzitzil Tzunun Mask
Wood (Carved – Painted)
Quiché, 20th Century
Second Commander of Maya Chief Tecun Uman
Claudio Rama Collection

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

Maximón Mask

Maximón, also known as Rilaj Mam, is one of the most important figures in the popular religiosity of Guatemala. Venerated by various Maya communities, he combines elements of pre-Hispanic beliefs and Christian tradition, becoming an example of the religious syncretism that characterizes many celebrations in the country.

His image is usually depicted as an elderly man, dressed in a hat, colorful scarves, and numerous accessories. In Santiago Atitlán, one of the towns where his cult is most deeply rooted, the effigy of Maximón stays each year in the home of a different family, who assume the responsibility of guarding it and receiving pilgrims. During Holy Week, he participates in the main religious ceremonies, and the rest of the year, he continues to be an object of devotion.

Numerous stories and traditions surround Maximón. For some communities, he is an ancient Maya leader who became the protector of his people; for others, he is identified with Rilaj Mam, a wise and powerful elder, or with a character known as Don Ximón. These diverse interpretations reflect the richness and complexity of a figure who represents protection, justice, fertility, and the duality between good and evil simultaneously.

The Maximón mask expresses the vitality of a tradition that continues to hold a central place in the spiritual and cultural life of numerous Guatemalan communities.

Maximón Mask
Wood (Carved – Painted)
Santiago de Atitlán, 20th Century
Claudio Rama Collection

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