Examining the Art of Vejigante Masks

Careta Mask at the Museo de Arte de Ponce

Source: Personal Photograph

Yesterday, I wrote about the artistic legacy of Afro-Caribbean culture in my discussion of Wifredo Lam’s Rumblings of the Earth. Today, I want to continue that discussion by examining one of the most recognizable forms of Puerto Rican art: Vejigante masks.

These masks, called careta, are traditionally worn during carnival in the Puerto Rican cities of Ponce and Loiza. Vejigante figures, who wear the masks, represent a demonic character from Spanish folklore, and their presence in modern religious festivals can be loosely interpreted as a symbol of triumph over the devil and forces of evil more generally. In truth, in Puerto Rico, the tradition of the vejigante has more to do with the cultural traditions of the Taino people and of the African slaves who were brought to Puerto Rico by Spaniards. When you examine the history of colonization in Latin America, you will often find that indigenous peoples did not accept European culture and religion wholesale (at least, the first generation didn’t). Instead, indigenous people tended to make European ideas fit their own pre-existing worldview, resulting in traditions like the vejigantes and their masks.

The masks themselves are usually made of gourd, coconut shell, or papier-mâché. These masks are whimsical in style. They are brightly colored, adorned with imaginative details like horns and fangs. These masks are categorized as folk art, which generally means that the art is rooted in traditional culture and is produced by a person with no formal artistic training.

Careta Mask at the Museo de Arte de Ponce

Source: Personal Photograph

Careta Mask at the Museo de Arte de Ponce

Source: Personal Photograph

The distinction between folk art and fine art is both blurry and sharply defined. On one hand, it is difficult to compare folk art; these pieces of art are created for very different reasons and with different goals in mind. On the other hand, folk art often rises to the level of fine art and can be found in fine art museums all over the world. Thus, the true distinction between fine and folk art is really an issue of semantics and, to some degree, the way the viewer perceives the piece.

While the quality of vejigante masks varies widely, many of them rise to the level of fine art. In fact, the majority of the masks produced in Puerto Rico are now made for decorative purposes, as opposed to functional. It’s an odd clash of worlds when considered from an art historical perspective.

Careta Mask at the Museo de Arte de Puerto Rico

Source: Personal Photograph

Careta Mask at the Museo de Arte de Puerto Rico

Source: Personal Photograph

Careta Masks at the Museo de Arte de Puerto Rico

Source: Personal Photograph

Regardless of this, the masks of the vejigantes stand alone as a unique example of the richness and diversity of Puerto Rican culture. They are now a symbol of the island’s legacy and of the way in which oppressed peoples came together to create a new and unique culture, even in the midst of suffering and grief.

On a personal note, I really enjoy looking at vejigante masks. I find them endlessly entertaining as well as deeply impressive and engaging on an artistic level.

Disclaimer: I’m not an art historian or an expert on this topic. The above is my opinion, based on my interpretation of my foreknowledge of art and history. If I’ve done any additional research, I’ll note it above.