EXHIBITION HALL 2

Masks have been part of cultural history since ancient times, as evidenced by representations in the rock art of southern Peru and their presence in pre-Hispanic cultures such as Moche, Paracas, Nazca, Chimú-Lambayeque, Chavín, and Chancay. With the conquest, many practices were repressed, but they managed to survive through transformations and syncretic forms.

The mask is not merely an object: it transforms the dancer’s body into a “body-offering,” allowing them to embody another identity and act as a mediator between worlds. It does not conceal, but rather reveals and alters the spectator’s perception. In the Festival of the Virgin of Carmen in Paucartambo, masks are collectively crafted using materials such as plaster, cardboard, wool, or metal, representing human, animal, and mythical figures.

The master mask makers, who are also dancers, create these pieces from their bodily experience, combining tradition and innovation. The mask thus becomes a bearer of memory, identity, and transformation, giving rise to a symbolic presence that integrates community, ritual, and cultural continuity.

Miguel Rubio Zapata

Majeño

The Majeños represent merchants from the Majes Valley, in the southern Andean coast. Their name refers to this region known for the production of wine and spirits, so they embody characters linked to trade, festivity, and abundance.

Within the narrative of the festival, they symbolize the connection between the highlands and the coast, showing the exchange of products and cultures. They do not have a direct conflict role, but instead contribute a festive tone associated with consumption, celebration, and social life.

During the celebration, they stand out for their joyful, elegant, and sometimes exaggerated attitude, representing prosperous merchants who enjoy music, drink, and festivity, integrating themselves into the general atmosphere of devotion and celebration.

Their attire includes elegant suits, light-colored masks, stylish hats, and accessories such as bottles or glasses. These elements symbolize wealth, the trade of products such as wine, and the festive character they bring to the celebration.

Wayra

The Wayra, also known as “little doctors,” represent figures from the Spanish colonial elite, such as doctors, lawyers, or scholars. The word wayra means wind in Quechua, and their name relates to the way they move and appear during the festival: light, restless, and ever-changing, like the wind. They embody the knowledge and power associated with the European world.

Within the narrative of the festival, they symbolically and satirically represent this colonial elite. Through exaggerated gestures and mocking attitudes, they do not glorify them, but rather ridicule them, expressing social criticism toward their authority and their role in Andean history.

During the celebration, they do not participate in confrontations nor fulfill a protective role. Instead, they observe and intervene humorously, contributing dynamism and critique to the festive development.

Their attire includes elegant European-style clothing, refined masks, wigs, and accessories such as glasses or books. These elements reinforce their image as “little doctors” and emphasize their satirical character within the performance.

Bakers

The Bakers represent workers dedicated to the making and selling of bread, a fundamental trade in everyday Andean life. They embody a popular social sector that sustains the local economy and the town’s daily food supply.

Within the narrative of the festival, they symbolize abundance, sustenance, and communal life, since bread is associated with sharing and solidarity. Their presence highlights the importance of traditional trades in maintaining social balance.

During the celebration, they participate with a joyful and dynamic spirit, interacting with one another and with the audience, bringing warmth and a sense of community to the festive atmosphere.

Their attire includes traditional clothing, aprons, baskets, and elements related to bread-making. These elements reinforce their identity as workers of the town and highlight their role within the everyday life represented in the festival.

Chucchus

The Chucchus, or “malarial patients,” represent those suffering from malaria, a disease that strongly affected the jungle and warm regions near Paucartambo. They embody those who returned weakened from the jungle, reflecting a historical reality tied to contact between regions.

Within the narrative of the festival, they symbolize suffering, the fragility of the body, and the dangers of traveling into the jungle. They also reflect the experience of those who, in search of work or trade, faced unknown illnesses.

During the celebration, their dance has a distinctive tone, with trembling movements and exaggerated gestures that imitate the symptoms of the disease, creating both impact and a touch of humor within the festive ensemble.

Their attire includes worn clothing, an untidy appearance, and elements that emphasize their weakened condition. These features reinforce their representation as figures affected by illness and their role within the collective memory of the festival.

Maqta

The Maqta represent the youth of the town, especially Andean peasants. The word maqta in Quechua means boy or young man, and it is associated with energy, mischief, and vitality.

Within the narrative of the festival, they symbolize the people themselves and act as a voice of social criticism. Through humor and mockery, they question authorities and other characters within the festival.

During the celebration, they are very active and constantly interact with the audience, making jokes, chasing people, and creating disorder. Their presence brings dynamism and closeness, breaking the formality of other groups.

Their attire includes simple clothing, expressive masks, and striking accessories. These features reinforce their playful character and their role as figures who combine entertainment with social criticism within the festival.

Qhapac Negro

The Qhapaq Negro represent the Afro-descendant population brought during the colonial era, especially enslaved people who worked on haciendas and in warm regions. The word qhapaq means noble or powerful, and negro refers to their African origin; the name can be understood as a symbolic way of dignifying their figure within the festival.

Within the narrative, they symbolize the memory of slavery and the Afro presence in Andean history. Their participation is not mocking, but rather one of recognition, expressing resistance, identity, and the cultural contribution of these groups to society.

During the celebration, their dance combines strength and rhythm, with marked movements that evoke labor, resistance, and intense bodily expression. They contribute an important historical dimension to the ensemble of dance groups.

Their attire includes dark masks, curly wigs, elegant suits, and distinctive accessories. These elements reinforce their identity and their role as a representation of Afro-descendant heritage within the festival.