Tag Archives: christopher agostino

Jaguar Helmet Masks — from Aztec and Maya to Diego Rivera, from Hercules to Knights in Shining Armor…and Hockey Masks

A mural by Diego Rivera: Indian Warrior, 1931

Jaguar Helmet Mask design

by Christopher Agostino

Performing in a school on Wednesday I used the facepainted version of an Aztec Jaguar Warrior helmet mask to illustrate a folktale from the Kayapo people of the Amazon, so imagine my delight and surprise on Thursday to see that same image depicted in this mural by Diego Rivera in the current exhibit at the Museum of Modern Art. The helmet mask idea has been a favorite vehicle of mine for dramatic face designs for a long time, especially when I want to get a “wow” reaction while painting an adult male at a party. It is a pretty universal mask concept: a mask depicting a powerful animal that fits over the full head so that the wearer’s face is visible through the open mouth of the animal, framed by the animal’s teeth—and you can just see the mouth of the Indian Warrior peaking through behind the teeth of the jaguar in Rivera’s mural. Aztec, Mayan and Toltec sculptures and paintings portray warriors wearing such masks, sometimes depicting eagles, serpents or coyotes rather than the jaguar. The text accompanying this mural states: “Jaguar knights, members of an elite Aztec military order, were known for their fighting prowess; according to legend, their terrifying costumes enabled them to possess the power of the animal in battle”, which is probably only a partial explanation for the use of jaguar helmet masks.

Eagle Warrior

The symbolic use of animal imagery in traditional cultures often carries multiple layers of significance. The exhibition of Aztec art at the Guggenheim Museum a few years ago included many examples of this helmet mask concept, including the breathtaking, life-sized terra cotta sculpture of an eagle warrior from the Great Temple of Tenochtitlan (found under the streets of Mexico City).

Deified Eagle Warrior

In addition to the idea of accruing power by association with powerful totem animals, the exhibit described how the ascension to the rank of eagle or jaguar warrior meant the individual was imbued with the spirit of the animal—not just the physical animal, but, more importantly, the animal in its spirit-world state, or god-state. So, we see in the “Deified Eagle Warrior” sculpture how the human in the spirit-world is completely enveloped by the eagle. I am reminded of the concept in Northwest Coast American Indian cultures and masks of the celestial eagle coming to earth in human form, kind of like an eagle/man superhero.

Contemporary Jaguar Dance

Which is not to negate the functionality of wearing something scary to scare your enemy in battle. The warrior’s interest in that is probably universal. Imagine what a warrior might have felt seeing this human/animal jaguar man rushing at him across a battlefield. In modern day Mayan festivals, dancers will wear jaguar masks made from the heads or skulls of real jaguars—which may have been the same way the Jaguar Warriors made their masks in ancient times—so as I explain to school kids in demonstrations, wearing that mask is like saying “don’t mess with me, I’m the one who killed him”. Other modern Mexican mask traditions include papermache or wooden masks recreating the Aztec helmet mask appearance or worn like helmets with the dancer’s face showing through the mouth as it opens and closes.  Holidays and festivals in Mexico can include a blend of ancient and modern, including the Indios, dancers in traditional Indian costume, such as these two spooky looking guys wearing animal skulls, horns and bones in a 2007 procession through the streets of Gunajuato (where “la vida no vale nada” according to the old song).

Guanajuato, Mexico 2007

Guanajuato, Mexico 2007

In the Diego Rivera mural, I’ve got to think that he put the Indian Warrior in that jaguar outfit in part to create an equivalency with the scary armor of the conquistador he has killed (“you may have armor, but we have jaguar-power”), and he is using a stone knife while the Spaniard’s steel blase lies broken underneath him. Now, if that conquistador had only been wearing the right armor, he might have done better.

Knight's helmet, 1460

New York kids love to visit the collection of knights in shining armor at the Metropolitan Museum of Art, and there you can find a golden helmet in the shape of a roaring lion that might have stood up to that jaguar.It was made for an Italian knight in 1460 and, again, its symbolic significance is not limited to the idea of him wanting to be as powerful as a lion.

Hercules

Alexander the Great

This helmet mask is part of a European warrior tradition that goes back to Alexander the Great and the ancient Greeks, for it is meant to invoke the spirit of the greatest of all classical warriors:  the mythical hero Herakles (Hercules). Herakles slew the Nemean Lion and from then on wore its head and skin in a classic example of that general use of animal totem imagery in many cultures: “don’t mess with me, I’m the one who killed him.” On coins from ancient Greece, Alexander the Great is also depicted wearing a lion-headed helmet, to proclaim his personal mythic connection to the ancient hero. Lion-headed helmets have been showing up ever since.

Punia and the King of the Sharks

In our facepainting, we use this helmet mask concept for dragons, crocodiles, snakes and all the big cats. Anything with teeth. Years ago I used the concept to adapt a Northwest Coast American Indian storytelling mask depicting a man’s face inside a shark’s mouth to create the face I have used ever since in performance of the tale Punia and the King of the Sharks, and it always gets a response when I reveal the painted face. This past Halloween season I had the min-brainstorm at an event to try adapting it to a vampire and got one of my favorite new faces of this past year, the “Vampire’s Bite“.

As I said earlier, the concept is a crowd pleaser.People like big, ferocious looking teeth. And, when you have a kid with close-cropped hair or a bald man, you can make a real show of it and paint their whole head. I think it is important that you have some faces you can show off with.

Painting at tiger helmet

Faces to use when the event is slow and you still want to make an impact, or something to paint when the host sits down after you’ve painted all the little kids at the party. There’s a photo here of me painting a man in a tiger helmet design at the start of a special event for government officials and their families. We were doing their kids, but I didn’t think we’d be getting a lot of the adults to sit down. So I wanted to make this one count. At the end of the evening he returned to thank me, telling me that so many people had stopped to look at him and take photographs that he had felt like the life of the party.

The 1st time I tried the Vampire Bite

Full head Tiger Helmet

recent Serpent Helmet

Jaguar Helmet from my book

Hans Silvester foto - animal helmet mask as aesthetic design

Cujo

Panther helmet mask

Shark helmet mask

I was looking for examples of modern day hockey masks, which I knew sometimes use this concept, and I was surprised to learn that hockey goalies get the chance to design and create their own masks. Some of them, like Curtis Joseph’s “Cujo” mask, are so distinctive they bring the design with them as they change from team to team. Wow. What a cool example of the power of the mask. (hockey mask images from the website:      http://bleacherreport.com/articles/545279-the-50-best-goalie-mask-designs-in-nhl-history/   )

A Mayan painting from a temple wall that shows aristocracy in elaborate jaguar masks -- rising up higher on the head than the mask may have been, for there is a thin line painted in front of the face, seeming to indicate that there was a mask in front of the face, as if this is a depiction of the individual inside the mask as well as the mask he was actually wearing over his face

follow me for the face of the day:  https://twitter.com/#!/storyfaces
Related articles

First Night Hartford — Face Painting Adults and the Final Faces of 2011

From a Monet painting of a Venice sunset

by Christopher Agostino

This is the only photo I have from the final gig of 2011, First Night in Hartford, CT. We were just too busy for taking photos. It was our first time at this event and we expected that with First Night falling on a Saturday and the weather so mild the place would be crowded. When we arrived the on-site staff warned us to brace for a long line. They were right. The moment they opened the doors we had a line filling the room we were in.

Facepainting for free at a well attended public event means the line will be an issue. We want to paint as many people as possible, we want to keep it all manageable so the people waiting aren’t getting annoyed and the client/venue remain happy. We had our sound system so we played music and I could occasionally talk to the crowd, tell them what to expect (that we would surprise everyone with the face we paint on them) and our two simple rules: we paint anyone over 3 (but no babies or toddlers) and we only paint full faces. We also had great help from the site staff, who managed the line so we could focus on the painting. A few hours into the event, the site manager came to me and said that line was so long they were going to tell the adults in line that they couldn’t get painted, so we could paint more kids. I told her that isn’t what we do, and I was glad that she was willing to discuss it with me. We feel that adults have as much right to be painted as kids, and we know how excited kids get when their parents join in—it makes it a memorable family experience. I suggested instead to place someone at the end of the line to tell people how long the wait was and let them make the choice to join the line or not. We wound up painting almost as many adults as kids, including some teens and adults that were there on their own without any kids to be painted.  Facepainting is not just for kids. Once the line was closed it took us an hour to finish everyone waiting. I painted about 30 people in that hour. Towards the end people were thanking us for staying longer than scheduled and many were saying it was worth the wait. It felt good to work that hard, paint that fast and transform so many people. So we went out of 2011 with a bang, not a bad way to end a year.

Here’s the sign we used for this event. Click on this link, it will open in a window than click on it again: agostinoarts_WorkOfArtSurpriseSIGN

From our years of very large events at the Bronx Zoo we developed a methodology for painting faces quickly, focusing more on the graphic design than on the details. Even working as quickly as we did at Hartford, each face is unique, and a bold, colorful design that people respond to. For an idea on how to simplify a full face design to paint it more quickly, see the post on a fast tiger face:  https://thestorybehindthefaces.com/2011/04/08/facepainting-how-to-paint-a-tiger-face/

http://www.agostinoarts.com

Related articles

The Beach — the Edge of Our World — Christmas on Sanibel Island

“A beach is a place where a man can feel he’s the only soul in the world that’s real.”

— Pete Townshend, Quadrophenia

There is a concept within folklore that this world is divided into many worlds, such as the visible world we live in and the invisible spirit world. Other divisions include the world of the earth (the world which mankind lives in) and also the world above the sky and the world undersea. Standing on the beach at the ocean we are standing at the edge of our world, or rather, the edge where our world meets another.

We took a vacation to Sanibel Island, Florida, over the break between Christmas and New Years, and standing on the beach I felt that I was on the edge of the mystery. A few years ago I wrote a folktale that spoke of my feeling that the ocean itself is alive. There is so much life at the beach on Sanibel, reinforcing that image—I could feel that undefinable life before me under the waves, the ocean as “other”.  On the first day here, small fish must have been grouping just along the shore because sea birds swarming in the air were diving into the water all day long, in addition to flocks of sandpipers running along the water’s edge, and pelicans, crows, the occasional egret or heron. Sanibel is famous for the amount of shells that wash up endlessly, day after day, and that too speaks of life under the ocean surface.

We look up at the sky and see nothing but sky, maybe some clouds. When we look up at the sky it takes an act of belief or imagination to determine there is a world at the top of it.

To look at the ocean is to see the other world right there, its vast surface concealing the world beneath, and whereas we are in a world of earth we have dominated and remade in our image, the ocean remains mysterious. The beach is the portal, the transition place between the world of Man and the mystery of Nature. Sitting at the water’s edge on our final day here I focused on this aspect of the beach as edge. The waves marking the transition point. The sound of the waves an audial fractal, if such a thing is possible, repeating without repetition, predictably and without pattern—each wave the call of the entire ocean, all of the waves together speaking with one voice.

I also wondered who is the guide? In folklore there are creatures that traditionally guide the adventurer who journeys between the worlds. The frog, because he can move from pond to land; the snake, because he moves from the surface through rock to the underworld. For the ocean off Sanibel, who is the guide? Maybe a cormorant? Or a pelican? Maybe it’s time to write a new story.

“Have you ever stood on a beach and watched the sea?  It never stops.  Day or night,  the sea keeps rushing up the sand and flowing back.  It’s always moving. Always changing.  Like something alive. The life within the sea is also endless and forever changing. Beneath the waves is a world full of  fantastic creatures. People say the sea has a special magic, a magic called the sea change.  Let the sea catch you and hold you and you will become part of it, one of the wonderful creatures  that live beneath the waves. To see this magic of the sea, you’ll need to learn a magic sea spell.  First, imagine the sound of the waves.  Soft and endless.  Always moving. Feel yourself moving, rocking, with the waves.  Back and forth, gently rocking.  Imagine the smell of the sea. The lively salt air and cool winds, rushing across the waves, bringing the sea spray up to your face and inside you. Let the sea take hold of you.  Hear the magic of the sea…”  — excerpt from The Sea Change © 1997 Christopher Agostino

“Full fathom five thy father lies, of his bones are coral made,

those are pearls that were his eyes.

Nothing of him that doth fade but doth suffer a sea change

into something rich and strange.”

—Ariel from Shakespeare’s The Tempest, Act I, Scene ii

In my transformation tale, The Sea Change, Wistful walks along the beach at sunrise every morning to see what shells have washed up, and she is lured into the ocean by a sea monster

At the end of the tale she is rescued by Steadfast, but by then the sea has changed her as it does all things, and she has become a Mermaid, who can return to land only when the moon rises just so.