Costa Rica · Mask Making

Boruca Diablito Mask Carving

Máscaras de diablito

The hand-carving and hand-painting of balsa or cedar wood masks by the Boruca (Brunca) people of Costa Rica's Talamanca mountains, worn each New Year during the Danza de los Diablitos, a three-day ritual re-enactment of the Boruca's successful resistance against 16th-century Spanish invasion — a tradition rooted in the Boruca's own deliberate reclamation of an insult, since Spanish conquistadors first called the community "devils" for the fearsome ceremonial masks they wore, a label the Boruca embraced as a permanent source of cultural pride rather than rejected.

Risk level: Endangered · Not currently inscribed on a UNESCO Intangible Cultural Heritage list under this specific technique; Costa Rica ratified the UNESCO 2003 Convention for the Safeguarding of Intangible Cultural Heritage in 2007 and could nominate this technique in the future.

Alternate Names
Boruca devil masks; Danza de los Diablitos masks
Geographic Center
Boruca and Curré villages, Boruca Indigenous Reserve, Puntarenas province, near the Panama border
Community / Ethnic Group
Boruca (also called Brunca or Brunka)
Estimated Origin
The tradition traces to the 16th-century Spanish conquest of Costa Rica, when Spanish forces, encountering fierce Boruca resistance, are documented to have labeled the community "devils" specifically because of the frightening appearance of their ceremonial masks; rather than rejecting the label, the Boruca adopted and embraced it as a lasting source of cultural honor, and the Danza de los Diablitos has been performed in commemoration of this resistance every year since, by community account, since at least the Spanish campaign of 1490–1500
Cultural Function
The masks are the most important element of the diablitos' ceremonial costume, worn during the annual Danza de los Diablitos (December 31 to January 2 in Boruca, early February in Curré), a three-day ritual performance in which male Boruca community members re-enact their ancestors' resistance to Spanish invasion in a mock battle against a bull figure (the toro) representing the conquistadors; only men born in Boruca may participate, and the choreography moves through birth, conflict, death, and rebirth before the diablitos ultimately triumph and burn the bull's costume, symbolizing the Boruca's enduring survival; masks fall into three general categories — the devil, the "ecological devil," and depictions of regional flora and fauna such as jaguars, eagles, and birds
Primary Materials
Balsa wood (lighter, used for more elaborate ceremonial pieces) or cedar wood (harder, more durable)
Primary Tools
Hand carving tools
Process Overview
Selecting and carving balsa or cedar wood by hand into a devil, ecological devil, or natural flora/fauna motif mask, painting the finished carving with natural pigments, and, for some pieces, attaching jute or banana-leaf body extensions
Traditional Applications
Ceremonial masks worn during the annual Danza de los Diablitos
Contemporary Applications
Continued ceremonial use, alongside significant tourist and collector sales that today provide a primary livelihood for many Boruca families, given the near-extinction of the Boruca language and the community's broader shift toward craft-based income
Notable Practitioners
Ismael González ("Don Ismael"), community elder and revival figure who won the National Prize for Popular Culture in 2002 for reviving mask-making when it was fading, teaching students as young as thirteen; Jose Gonzalez Lazaro, a documented contemporary Boruca mask carver
Key References
LatinAmerican Post, 'Costa Rica's Masks Conceal A Rich And Violent Past'; Tico Travel, 'The Artistic Tradition of the Boruca Masks of Costa Rica' and 'Fiesta de Los Diablitos: A Costa Rica Indigenous Celebration'; borucacostarica.org, 'Boruca Masks' and 'The Dance of the Devils'
Verification Status
Desk-Researched

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