Peru · Mask / Ritual Craft

Puno Diablada Mask and Costume-Making

Máscaras de la diablada puneña

The making of devil masks and full dance costumes for the diablada, the signature dance of Puno's Festividad de la Virgen de la Candelaria — a February festival syncretizing Catholic devotion with Aymara and Quechua Andean cosmology, in which the Virgen represents Pachamama (Mother Earth). Distinct from, though related to, Bolivia's Oruro Diablada, the Puno tradition has been the subject of a deliberate contemporary effort by local mascareros to research and revive historic mask styles specifically to reduce the region's dependence on masks imported from Bolivia. UNESCO inscribed the Puno festivity on its Representative List of the Intangible Cultural Heritage of Humanity in 2014, and the tradition today mobilizes roughly 170 dance groups and 40,000 dancers and musicians across the annual celebration.

Risk level: Vulnerable · La fiesta de la Virgen de la Candelaria en Puno was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity in 2014 (9.COM)

Geographic Center
Puno city and the surrounding altiplano region
Community / Ethnic Group
Quechua and Aymara communities of rural and urban Puno; UNESCO's inscription file specifically identifies the festivity's core participants as ethnic Quechua and Aymara residents of both rural and urban Puno
Estimated Origin
The dance tradition draws on centuries-old Andean and colonial-syncretic roots; documented modern organizational history traces to 1954, when Puno's Gobernación organized the first formal dance competition for the Festividad de la Virgen de la Candelaria with 14 participating groups, expanding to include urban neighborhood groups from 1955 onward, and formalized further through the Instituto Americano de Arte's sponsored competitions from 1956
Cultural Function
Central ceremonial costume element of the diablada dance within the Festividad de la Virgen de la Candelaria, which begins with a dawn mass followed by an ancestral purification ceremony, and continues with a procession of the Virgen's image through Puno's streets accompanied by traditional dance and music; the Virgen is understood within Aymara and Quechua cosmology to represent Pachamama, embedding a documented cultural syncretism that has culturally resisted the pressures of the Conquest
Primary Materials
Brass/tin (latón) or other rigid material for the mask base; synthetic fiber or velvet for the costume body (jacket, cape, trousers)
Primary Tools
Design and mold-cutting tools for the costume pattern (cardboard templates); mask-shaping tools for the brass/tin or other rigid mask material (not itemized in further detail in available sources); embroidery tools for costume decoration
Process Overview
Design the intended mask or costume, referencing historic photographic sources where reconstructing older styles; transfer the costume design onto cardboard molds and cut fabric accordingly; shape the mask from brass/tin or other rigid material, prioritizing dancer comfort and fit; embroider decorative detail onto the finished costume; complete with decorative stone inlays where included.
Traditional Applications
Ceremonial masks and costumes worn by diablada dancers during the annual Festividad de la Virgen de la Candelaria, February, Puno
Contemporary Applications
Continued ceremonial use; commercial sale to dance groups and collectors; documented pandemic-era adaptation of mask-making skill toward protective face coverings as an emergency livelihood strategy
Notable Practitioners
Loza, a named mascarero and recipient of the "Amauta de la Artesanía Peruana" award, who danced the diablada himself for two decades (five years as a devil character, fifteen years as an angel character) before becoming a mask-maker, specifically prioritizing wearer comfort in his mask designs based on his own performance experience; Alfonso, a named mascarero who adapted the elaborate diablada mask form into a protective face covering during the COVID-19 pandemic to sustain his livelihood; Simón Nawincha, a costume designer directly interviewed on the full design-to-embroidery costume-construction process; Edwin Nahuincha, a named master costume embroiderer (bordador); José Rolando Chura Apaza, director of the Museo Carlos Dreyer in Puno, who led the "Rescatando las Máscaras Tradicionales del Altiplano" workshop specifically to research and locally reproduce historic Puno mask designs, explicitly stating the goal of ending the region's reliance on masks imported from Bolivia
Key References
UNESCO ICH ("La fiesta de la Virgen de la Candelaria en Puno," official 2014 inscription file); Wikipedia ("Fiesta de la Candelaria (Puno)," on 1954-1956 organizational history); Agencia Andina ("Exhiben máscaras de danzantes de la Festividad de la Candelaria en Puno," on José Rolando Chura Apaza and the Museo Carlos Dreyer workshop); Vive Candelaria ("Conozca al Mascarero del Altiplano premiado al Amauta de la Artesanía Peruana," on Loza); RPP ("Así se hacen los vestuarios de la fiesta 'La Virgen de la Candelaria'," on Simón Nawincha's costume process); Observatorio Social UNICEN ("Las máscaras salvadoras del diablo," on Alfonso's pandemic-era mask-to-facemask adaptation and Edwin Nahuincha); Viajes Machu Picchu Tours ("La Virgen de la Candelaria 2026," on festival scale statistics)
Verification Status
Desk-Researched

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