Boruca, Yesterday and Today: The Men and the Meaning Behind the Masks

E. Francesca Galicki

Introduction and Background

The intricately designed, carved, and painted masks of Boruca, Puntarenas, Costa Rica
have not always been fashioned and sold in this manner; in fact, it is only within the past
twenty years that the majority of the men of the pueblo have turned to artisanship as their
primary source of income. The original ideas of the masks; however, have been passed down
from generation to generation over four or five centuries. A painful and yet triumphant
history lurks behind the masks that exist today as art and as souvenirs. This history partially
composes the identity of this indigenous people and adds meaning to the masks as an art-form
and as continued tradition.

Christopher Columbus set foot on the shores of Costa Rica in September of 1502 with
his band of conquistadors with only one thing on his mind--gold. In his quest for riches he
made no plans to avoid the pueblos of the four indigenous tribes that resided in the country at
the time. The Caribs along the east coast and the Borucas, Chibchas, and Diquis in the
southwest (http://www.geographia.com/costa-rica/history.htm) would have to enter into
bloody warfare, in which many men would fight bravely to protect their land, their cultures,
and their lives, often ending in respectful deaths. The battles were rough, especially because
the indigenous people were fighting with bow and arrows against the axes, knives, and rifles
of the Spaniards.

Because the main method of recording history in Boruca is oral, many variations of
what actually happened and how the masks became a part of the Borucan culture during the
time of war have evolved over time. A well-known and respected elder of the town, for
example, Don Ismael Gonzalez, (National Prize of Popular Culture, 2002), spoke of the
particularly notable and culturally significant strategy, in which the Borucans in particular
carved masks in the form of diablitos or “little devils” out of balsa in order to protect and
disguise their faces, but also to frighten the invaders. The masks were sometimes painted or
dyed, but using natural coloring that came from plants an minerals such as achiote (to make a
reddish orange), carbon (to make grey and black), and yuca (to make a dark yellow). Other
members of the community state that the use of the masks in Boruca started some time after
the victory over the Spaniards in the form of a yearly festival in which those who died in
battle are remembered and the indigenous victory is reemphasized and celebrated.

El Juego de los Diablitos

For several centuries (no one can be sure exactly when it began) El Juego de los
Diablitos or “The Dance of the Little Devils”, a three-day long celebration of respect and
festivities has taken place in Boruca from December 30th until January 2nd. Some people
take the event to be a type of reenactment of the battles fought against the conquistadors,
battles in which they believe that their ancestors actually wore masks as armor while fighting.
This armor, or mask, represents the fierce indigenous and triumphant warrior who fought for
the lives of his descendents.(insert picture #1 of hard copy pictures as a full page at the next
page change) Others do not believe that actual masks were worn during the war, but they
believe in the representation and symbolism that exists in each. Men of the town who wish to
participate make devil masks, sometimes one for each day, decorating them with feathers, and
today painting them with vibrant colors. (insert picture #2 of hard copy pictures) They also
wear traditional clothing, either woven or made of burlap. Another man wears a wooden-
framed, burlap covered bull or toro costume. The costume is worn by approximately ten
different men throughout the festivities and represents the Spaniards of the early 16th century.
(Insert picture #3 of hard copy pictures)

At around 8:00 pm on the night of the 30th of December, the participants and
observers gather at the top of a big hill to drink chicha (an alcoholic beverage made from
corn) and prepare for the celebration. At midnight, the men in their masks, “little devils”, or
diablitos come out, and for the next three days they circle the pueblo, moving from house to
house, making three or four circles around the town per day. The entire pueblo follows the
fights around town, led by a designated leader/guide and musicians playing the accordion, the
flute, drums, and the horn. (insert picture #4 of hard copy pictures) Chicha is served at every
home, and the large audience watches, while little battles are fought in which the Toro attacks
the devils, while they dodge his aim, their faces protected by a mask.(insert picture#5 of hard
copy pictures)---note---the pictures to be placed in this section can be placed together for
aesthetics—captions will associate them with certain parts of the text

On the fourth day, the 2nd of January, the men wear their best or prettiest masks.
Fighting continues, but this day is considered the “most important day”. The commission of
people elected to organize the festival for the year sometimes chooses to give out awards for
the prettiest mask, the ugliest mask, and the best fighter, among other categories. For the first
two days, there is no clear winner in the battles, but on the this day, the devils take the upper
hand. The Toro runs away to hide, and when he is found, he is tied up, and eventually, he, or
his costume rather, is thrown onto a large fire. This “win” for the devils represents the
indigenous victory over the Spanish.

Recent History

Because the Borucan people ultimately were victorious over the Spaniards and resisted
colonization to a certain extent, today they have been able to maintain various traditions and
customs such as music and dance, cooking, celebrations, and to a certain extent, the Brunka
language. (insert picture #1, disc 1) It is not in common usage, but is recorded and taught in
the elementary school on the indigenous reserve. In addition, weaving and mask-making,
which were originally only made and used out of necessity and tradition, (the masks
disputably during or right after the war with the Spanish, and the weavings for clothing) have
started to connect Boruca more to mainstream Costa Rica. The products have started to be
sold to tourists and collectors for economic gain.

Until 1991, only three mask-making artisans existed in Boruca. At this time the idea
of comercializing the masks first began. The masks were and continue to be of cultural
importance, and it soon became apparent that they would also be valued by others, such as
visitors to the community or the country, as well as non-indigenous Costa Ricans.

For centuries the community had lived solely from the means of subsistence
agriculture, not depending on the outside world for anything, so when the decision was made
to sell the masks, some steps were needed to make the transition. Don Ismael Gonzalez, one
of the three men who originally made masks, started a mask-making class at his house, which
would be followed by year after year of similar classes. The first one; however, was
composed of twenty-six young students, and in 1992, eight out of the twenty-six students were
selected by Don Ismael to attend painting classes in San Jose two times a week for one year.
(insert picture #1 disc 2 as full page photo with next change of page) Four of these students
went on to become full-time artisans, and it was one of these former students, who is now near
30 years old, Bernardo Gonzalez, who came up with the idea to start making ecological
masks, by representing animals of Costa Rica.

Because of this idea, today, the mask-making craft includes more than one design.
Slightly adapted devil masks, carved with extreme facial features and painted in bright colors.
At times, these masks are not painted, as the earliest masks did not have paint. Cedar, in
addition to balsa is also used.(insert picture #2, 3, 4 disc 2, and picture #2 disc 1)Fierce indian
masks are also made, often accentuated with animals as companions. Ecological masks are
created, including animals such as butterflies, hummingbirds, tucans, snakes, frogs, tigers,
monkeys, dragonflies, and others, as well as native flowers such as orchids. These ecological
masks present the harmonious relationship of the indigenous person with nature, in which man
protects nature, and vice versa. The image of the indigenous person is always represented in
the face of the mask to remember and show reverence to those who died fighting against the
Spaniards.(insert picture #3 and 4 disc 1; picture #5 disc 2; #6 of hard copy pictures as a full
page photo with next change of page) In less than twenty years, the community has evolved
from almost completely agricultural living to approximately eighty percent of the population
working in mask-making, weaving, and other crafts. In the past few years, several women in
the community have also started to carve masks, rather than working in the more traditional
weaving artisanship.

Because of the pueblo´s financial dependency on the income from the masks, it would
be quite impossible to survive without them at this point, especially because most of the
younger men do not now how to work in agriculture. This has not become a problem, but
there are issues that exist presently that are hurting the community. Some members of nearby
indigenous communities, who have traditionally worked solely in agriculture, have started to
make masks for additional profit. Yet, these communities have no history of mask-making.

For the men, and some women of Boruca, the masks are sold to make money in order
to live, but they have meaning that goes far beyond. In the words of one community member
(who preferred that his name not be mentioned), they “nos identifica como indigenas”, or
“they identify us as indigenous.”

Thanks

With the purchase of this booklet you have helped to support the Borucan community
of Puntarenas, Costa Rica. You have shown an interest in what lies beneath the beauty of the
masks and allowed the members of the community to know that there are outsiders and
visitors who appreciate that beauty, as well as the culture and the history that comes along
with it.

The Making of the Booklet

All information used in this booklet that is not otherwise noted was taken from a series
of thirteen interviews that were conducted with Borucan men of varying ages. These men
have stated that all they have recounted to me is true to the best of their knowledge. There
may be some conflicting information because the men have different viewpoints about certain
topics. The purpose of this booklet was not to find the ultimate truth, of which sometimes
there is not one, but to share the perspectives that do exist in order to bring people of different
cultural backgrounds together. The following men shared knowledge or pictures that made
this booklet possible.