The main outline of the mold is formed freehand from damp clay, taking into account that the accessories are made separately and added in a later step. The mold then is set to dry in the shade in order to avoid cracks from drying too quickly.
2. Filling the Mold
Thin paper is used in the first layer to make sure the shell is resistant and balanced. Newspaper is ideal for this. The paper is torn by hand (not with scissors) and moistened before placed in the mask.
Small bits of paper are then placed on the surface of the mold taking care to keep the paper moist until the mold is full. The entire mold should be completely full.
Once the first layer of damp paper has been placed in the mold, a second layer of moist paper should be applied immediately with yucca or corn starch.
Traditionally, yucca starch has been used to adhere the paper to the mold. Now wheat flour can be used in a proportion of one part flour to 6 parts water. The mixture is boiled until thick and sticky then allowed to cool before use.
In order for these layers to be built up enough to become thick, the newspaper must always be moist. Once the layers have been applied to completely cover the mold for this second layer, spread a hand full of starch over the entire paper and let dry, preferably in the sun.
After the second layer is dry, apply the third using the same method as they previous layer.
Two more layers are then applied with paper and starch and the mold is left to dry.
3. Removing the mold.
When the last layer of applied paper is completely dry, the mold is removed from under the mask. In the event the mask cannot be removed easily from the mold, a partial incision is carefully made with a box cutter to extract it. If the mask is complex and if it’s necessary, a sharp knife is used to cut that mask in half. Later it can be put back together with glue then gone over with starch and paper.
At this point, the necessary hole for the eyes and mouth are cut into the mask for aesthetic, decorative reasons as well as to allow the wearer to breathe while wearing it.
More starch must be applied to any loose papers inside the mask. The edges are then cut to fit and rubbed with more starch.
4. Making the horns and teeth.
To make the horns, real cow’s horns are used as molds.
Strips of paper are cut and wrapped around the cow’s horn and pasted on with glue. This is done until the entire cow’s horn is covered with paper, making sure the strips are glued to each other and not touching the actual horn.
Damp paper is then applied to the horn, again making certain that it does not touch the surface of the horn but only the paper.
Once the paper is applied with starch, leave to dry.
When it is dry, remove the molds by carefully pulling off the covering paper, following the curve of the horn
To lengthen the horns, make a paper cone to the desired length and glue it on to the horn.
Then place another layer of paper on so it is the same thickness as the rest of the horn thus also making it more resistant.
Making the teeth: Using thick paper, you shape each piece into thin cones to desired length. The cones are glued and then a layer of paper with starch is applied on top of the thin cones to cover the glue and make the teeth strong.
5. Applying accessories and finishing touches.
The horns and teeth are then applied to the sanded mask in the following way: once the horn is dry, little tiny cuts are made along its base to produce the look of eyelashes that are then opened and glued to the mask.
The teeth are glued directly onto the mask with no need to make any cuts.
Once the accessories are glued to the mask, another layer of paper is applied over the area where they’re attached in order to cover anything sticking out from the attachment point. This also makes the accessories stronger and keeps them attached firmly to the mask.
6. Decoration.
Traditionally, the majority of Dominican Carnival masks are painted with bright colors. Notwithstanding, some communities attach feathers, beads sequins, nails and other types of accessories to accentuate their character and beauty.
CREDITS:
Conceptualization: Iris Mondesert
Text and photographs: Iris Mondesert
