The training activity, organised within the framework of MASKS, brought together participants from the University of Bucharest, the University of Valladolid, CEARCAL, and CEARTE, alongside academic staff and leading specialists in traditional crafts.

From 6 to 10 July 2026, Valladolid hosted an international hands-on training programme dedicated to the creation of masks and material elements associated with traditional masquerade customs. Organised by CEARCAL–FOACAL as part of the European project MASKS – Unveiling the Arts and Works Behind the Masks, the initiative brought together 19 university students and craftspeople from the University of Bucharest, the University of Valladolid, CEARCAL, and CEARTE, together with project staff, in an educational experience focused on the transmission of technical, heritage-related, and creative knowledge.

Craft Training and Applied Learning

The programme aimed to familiarise participants with a range of traditional craft processes involved in the production of masks and the creation of material objects associated with masquerade rituals. Throughout the week, the training combined practical workshops, knowledge exchange, and specialised study visits, with particular emphasis on two principal areas of craftsmanship: woodworking and plant-fibre weaving.

Among the instructors were Jana Úbeda, from the workshop Cesteando, and Miguel Ángel Tapia, sculptor and religious image-maker from Aquí se hacen santos. Both shared their professional expertise in traditional craftsmanship, wooden sculpture, and the expressive potential of plant fibres such as willow and esparto grass. Their participation enriched the programme by providing expert perspectives grounded in professional practice, reinforcing the value of experiential learning and the transmission of artisanal knowledge.

Engagement with Craft Professionals

The final day of the programme included a study visit to Zamora, where participants visited the workshop of Miguel Elisardo Bueno, founder of Arte Feudo Escultura. He presented his artistic practice, creative processes, and relationship with both traditional sculpture and craftsmanship, while also demonstrating the integration of contemporary digital technologies, including 3D printing, into his work. This session offered participants the opportunity to engage directly with an active professional workshop and to explore how technical expertise, creativity, traditional knowledge, and technological innovation can coexist within contemporary craft practice.

Tradition, Intangible Cultural Heritage, and Ethnographic Knowledge

The training programme also featured contributions from Ángel Haro, representing the Tafarrón de Pozuelo de Tábara, and Celedonio Pérez, representing the Zangarrón de Sanzoles, who introduced participants to their respective masquerade traditions. Their presentations provided an essential ethnographic and cultural perspective for understanding the significance of masquerade rituals within the intangible cultural heritage of Castile and León. Their contributions highlighted the symbolic, ritual, and communal dimensions of these traditions, as well as the importance of their preservation and intergenerational transmission.

As part of the programme, participants also visited the Ethnographic Museum of Castile and León, where they deepened their understanding of the region's cultural heritage and explored the historical and cultural context of masks and masquerade traditions. This visit complemented the practical training by introducing museological and heritage perspectives, fostering dialogue between traditional craftsmanship and cultural interpretation.

Cooperation, Knowledge Transmission, and Future Perspectives

The programme successfully combined practical learning, critical reflection on cultural heritage, and direct engagement with craftspeople, specialists, and leading heritage institutions, thereby consolidating an educational model that strengthens cooperation between universities, craft organisations, and cultural heritage stakeholders. Bringing together university students and experienced craftspeople within a shared learning environment created particularly valuable opportunities for the intergenerational transmission of knowledge and professional expertise.

Through this initiative, CEARCAL–FOACAL reaffirms its commitment to specialised training, the promotion of traditional crafts, and the dissemination of the cultural heritage associated with masquerade traditions, contributing to the safeguarding of knowledge and practices that constitute an essential part of the cultural memory, identity, and creative heritage of European communities.

The residency, carried out within the framework of our European project MASKS, brought together 12 students and craftspeople from Romania, Italy, and Spain in an educational experience focused on museology, anthropology, and the living tradition of masks.

The Romanian Peasant Museum in Bucharest hosted an international mobility programme dedicated to masks and ritual heritage from 29 June to 4 July 2026, as part of the European project MASKS – Unveiling the Arts and Works Behind the Masks. The programme took place in an international learning environment involving students from the University of Valladolid, the University of Basilicata, and craftspeople from the Regional Centre for Crafts of Castile and León, all partner institutions of the project. The residency focused on the arts, living traditions, and the transmission of heritage knowledge.

The mobility was organised by Georgiana Vlahbei and Iuliana Dumitru, museologists and researchers at the Romanian Peasant Museum, in their capacity as coordinators of the MASKS project, together with Ana Iuga, also a researcher at the institution, who played an active role in the teaching activities. They were supported by staff from other museum departments, who contributed to the delivery of the sessions, the guidance of participants, and the organisation of the scheduled activities.

A Programme of Learning and Critical Reflection

The residency began with an introductory session designed to present the objectives of the mobility, encourage interaction among participants, and introduce the first reflective exercises. This was followed by a guided visit to the museum's permanent exhibition, with particular attention to curatorial approaches, exhibition design, and the representation of masks, concluding with a discussion on the museum's role in heritage preservation and its relationship with rural and peasant culture.

During the first day, participants also attended an initial workshop exploring masks within the context of exhibition design from both museological and curatorial perspectives, followed by a working session on the first assigned task. This opening stage of the programme positioned masks not only as objects of study but also as active elements within museum narratives and broader heritage discourses.

Collections Storage, Archives, and Material Culture

The second day was devoted to gaining an in-depth understanding of the museum's internal operations. Participants visited the museum's collections storage facilities under the guidance of the Head of Collections, learning about conservation procedures, collections management, preventive care, and heritage preservation, with particular emphasis on the museum's mask collection. They subsequently explored the museum's photographic archive with its curator, examining the presence of masks within documentary collections and the role of multimedia archives in heritage documentation.

The day concluded with a second workshop devoted to the heritage of masks from the perspectives of material culture and tangible heritage. This session broadened participants' understanding of masked objects as components of complex systems of knowledge, memory, and cultural practice, highlighting their anthropological and museological significance.

Fieldwork and Living Tradition

The third day included a field visit to Brănești, where participants met with Cucii din Brănești, a masked ritual group associated with the Lent and Spring Carnival traditions of the northeastern Bucharest region. The visit provided a valuable opportunity to observe a living manifestation of intangible cultural heritage within its community context, reinforcing the connection between academic research and the direct observation of ritual practices.

In the afternoon, participants continued developing their individual and collaborative projects, drawing upon the knowledge and insights acquired during the previous sessions. The combination of fieldwork and reflective academic practice constituted one of the defining methodological features of the mobility programme.

Final Workshop and Closing Session

The final day was dedicated to a concluding workshop focusing on ritual objects and masks as elements embedded in customs, festivals, living rituals, and the communities that sustain them. The programme also incorporated examples drawn from ethnographic fieldwork alongside an anthropological approach to mask communities, fostering a nuanced and multidisciplinary interpretation of these cultural expressions.

The mobility concluded with presentations of both individual and collaborative projects, followed by a discussion session and a final round of evaluation and reflections. The residency provided participants with a valuable opportunity for practical training, international exchange, and direct engagement with the heritage of masks from museological, anthropological, and community-based perspectives.

International Cooperation

The joint participation of students and craftspeople from Romania, Italy, and Spain reinforced the European dimension of the MASKS project by promoting the exchange of knowledge among institutions and regions with their own distinctive masking traditions. The Bucharest mobility highlighted the importance of cultural and academic cooperation as an effective means of safeguarding, disseminating, and fostering the contemporary reinterpretation of intangible cultural heritage.

The training programme, organised within the framework of the MASKS project, combines practical learning, intangible cultural heritage, and artisanal innovation through the traditions of the Caretos of Trás-os-Montes.

Bragança hosted an international residency dedicated to the creation of traditional masks and ritual costumes, bringing together 19 participants from Italy, Spain, and Portugal. The initiative was organised by CEARTE (Coimbra) in collaboration with the Academia Ibérica da Máscara and the Bragantia EcoPark Chamber of Commerce, providing an international learning environment centred on the transmission of traditional craftsmanship and the safeguarding of cultural heritage.

Craft Training and Living Heritage

Over the course of one week, participants engaged in practical workshops focusing on techniques related to mask-making and the production of ritual garments, with Bragança serving as an ideal setting owing to its central role in the tradition of the Caretos. The programme promoted the transmission of artisanal knowledge while highlighting one of the most distinctive expressions of intangible cultural heritage in northern Portugal.

The training devoted to the production of metal masks was led by the master craftsperson Isidro Rodrigues, who introduced participants to traditional brass-working techniques, including cutting, shaping, assembly, and finishing processes. These sessions enabled participants to gain first-hand experience of one of the defining craft traditions associated with the manufacture of Caretos masks.

The textile component of the programme was delivered by craftswomen Sofia Pombares and Sandrina Fernandes, who conducted workshops dedicated to the production of traditional garments and accessories. Their teaching focused on the textile techniques characteristic of Caretos costumes, including material preparation, weaving, and the construction of the distinctive decorative elements that define these ritual garments.

Exploring a Living Tradition

The residency commenced on 6 July with a welcome session followed by a visit to the Iberian Museum of the Mask and Costume, where participants explored the history, symbolism, and cultural significance of Portuguese winter ritual traditions. The opening day concluded with a visit to the workshop of master craftsperson Amável Antão, a specialist in the carving of traditional wooden masks.

Throughout the residency, practical workshops in metalworking and textile production were complemented by critical reflection on the cultural significance of these traditions. The programme fostered dialogue between craftsmanship, collective memory, and innovation within a region where mask-making remains deeply embedded in community life and cultural identity.

Final Visit to Cut Out

The mobility concluded with a visit to the Cut Out workshop in Bragança, a creative studio that combines skilled craftsmanship, artisanal production methods, and an inspiring working environment dedicated to the creation of distinctive handmade pieces. Its design philosophy is rooted in local identity, where tradition and innovation coexist to celebrate the cultural essence of Trás-os-Montes through a refined and contemporary approach.

Cut Out also demonstrated a strong commitment to sustainability and environmental responsibility through the use of environmentally friendly materials and low-impact production processes that ensure high-quality craftsmanship while minimising ecological impact. The visit provided participants with valuable insight into how contemporary creativity can reinterpret traditional heritage, generating new forms, materials, and aesthetic perspectives inspired by the legacy of the Caretos.

A European Dimension

In 2019, the Caretos of Podence were inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity, recognising the importance of safeguarding not only the festive tradition itself but also the artisanal knowledge and skills that sustain it. Within this context, the international residency in Bragança represented a strategic initiative to promote exchange among young participants, craftspeople, and vocational training institutions from across Europe.

The programme strengthened cooperation among institutions and heritage specialists from different countries while contributing to the continuity of traditional craftsmanship, which remains essential for the safeguarding of intangible cultural heritage. The conclusion of the Bragança mobility left participants with more than lasting memories: it reaffirmed the importance of recognising cultural heritage as a shared identity capable of inspiring future generations.

The course was organised and directed by Professor Alberto Ramos Santana, Emeritus Professor of Contemporary History and Director of the Chair of Carnival Studies at the University of Cádiz, whose distinguished academic career has made him one of the leading scholars of Carnival studies. The MASKS project was represented by its Principal Investigator, Professor Pilar Panero García of the University of Valladolid.

The course taught by eight professors has addressed a critical reflection on carnival manifestations from a gender perspective. Historically and socially, Carnival has been understood as a brief period of individual and collective liberation. Within this framework, cross-dressing has long been a recurring feature of masks and costumes, even as such practices were repeatedly prohibited and regarded as socially deviant. At the same time, male hegemony has contributed to the objectification of women, both as objects of eroticisation and as targets of biting and often hurtful criticism, typically justified by the satirical nature and humorous conventions traditionally associated with Carnival.

Against this background, the course examined the extent to which the use of humour may itself constitute a form of sexism. Its objectives included identifying and analysing manifestations of cross-dressing in traditional masks and contemporary Carnival costumes; reassessing representations of the female body within Carnival imagery; examining expressions of sexism in Carnival traditions; and exposing forms of sexism that are concealed and legitimised under the guise of humour.

Within this framework, Professor Panero delivered the lecture “Cross-Dressing and Gender in Traditional Carnival Masks” focusing on Carnival traditions in the north-western Iberian Peninsula. Her presentation explored the relationship between masks, the body, and gender in the rural masquerade traditions of western Iberia, paying particular attention to participation, the maintenance of ritual practices, and the redistribution of social roles.

Although women have traditionally been relegated to secondary positions, they have played a fundamental role in both the material and symbolic dimensions of these festivities through the making of costumes, the transmission of traditional knowledge, and the preparation of the celebrations. At the same time, femininity has occupied a central place in Carnival imagery, frequently embodied and performed by male participants.

The lecture also highlighted how, since the second half of the twentieth century, socioeconomic transformations have placed many women at the centre of the continuity and preservation of these ritual traditions, within a context of increasing touristification. In this setting, some women have begun to assume roles that were traditionally reserved for men, raising important questions as to whether these changes represent a genuine redistribution of the often invisible labour that sustains these festivities or, conversely, reproduce pre-existing inequalities.

The participation of the MASKS project in this course further reinforces its commitment to the critical analysis of cultural practices and to the dissemination of its research within both academic and wider contemporary social contexts.

The exhibition Alas y Viento Collection. Nacho Rovira. Ordino (Andorra) brings together pieces from Romania, Portugal, Italy, and Spain, alongside local examples. The opening ceremony took place on 10 June at 7:00 p.m. at the Era del Rasser in Ordino, attended by the Minister of Culture, Youth and Sports, Mònica Bonell, and the Vice President of the Parliament of Andorra, Sandra Codina, a native of Ordino. The exhibition will remain open until 23 August 2026.

This exhibition invites visitors to explore the universe of masks as a cultural expression shared by numerous societies, present in rituals, festivities, religious ceremonies, and theatrical performances across different periods and cultures.

The initiative, promoted by the University of Valladolid through the Chair of Traditional Studies, is coordinated and curated by Professor Pilar Panero, principal investigator of the European project Unveiling the Arts and Works behind the Masks, an Erasmus+ initiative supported by the European Education and Culture Executive Agency. As with previous editions held at the University of Valladolid Museum and the Museo do Pobo Galego, this exhibition contributes to the dissemination of the project in collaboration with the Area of Museums and Monuments of the Ministry of Culture, Youth and Sports of the Government of Andorra.

The exhibition features a carefully selected group of 55 masks from Romania, Italy, Portugal, Spain, and Andorra, all belonging to the private Alas y Viento collection of collector and traveler Nacho Rovira, who has spent more than forty years gathering pieces of this ancestral art from different countries. The display is complemented by local masks such as the Ossa and the Osseta, as well as two popular capgrossos, la Consellera Berna and Percanela.

As in previous editions, the exhibition begins with the materiality of the mask, focusing on artisans and craftsmanship as a gateway to intangible culture. In total, 59 pieces are presented, offering insight into the diverse uses, historical contexts, and meanings of masks, and reflecting the universal character of this cultural expression. These include masks associated with popular carnival and winter celebrations such as the Antruejo; pieces used in religious festivities such as Christmas, Holy Week, and Corpus Christi; examples from Baroque courtly carnival and the Commedia dell’Arte, linked to theatre and the performing arts of early modern Europe; funerary masks connected to rituals of farewell, memory, and the life cycle; as well as contemporary and artistic creations that demonstrate the ongoing relevance and reinterpretation of these traditions.

The opening event featured several short performances by Andorran cultural associations, in which masks played a central role. The programme began with a performance by the “Joves dallaires” of the Associació de Cultura Popular d’Ordino, followed by El testament del llop by Esbart Laurèdia, the Ball de capgrossos by Esbart Valls del Nord, and the joint choreography Les osses ordinenques. During the performances, traditional masks and characters were used—such as l’Osseta, the Faun, and several capgrossos—which would later become part of the exhibition. The event concluded with the opening of the exhibition in a symbolic moment, as performers removed their masks and placed them within the exhibition space, marking the transition from character to person. Participating in the inauguration were the Associació de Cultura Popular d’Ordino, dedicated to preserving Andorran folk traditions, Esbart Valls del Nord, and the historic Esbart Laurèdia, all institutions committed to the promotion of dance, legends, and cultural heritage in Andorra.

Photographs courtesy of Facundo Santana

This prestigious anthropological museum invites both the Bucharest public and international audiences, in person and online, to explore Romanian and other European masks through the lenses of craftsmanship and rituality.

The Romanian institution has organized a mini-series of interactive lectures featuring invited speakers, focusing on ritual and festive universes as well as mask-making practices. The series is held in connection with the museum’s participation in the European project “MASKS EU: Unveiling the Art and Craft Behind Masks.” In previous editions, the public was invited into the workshops of several mascagi (traditional mask makers) in Romania. This year, however, the focus is on international masks and, specifically, on the coordinators of the partner organizations involved in the project.

In the fourth session of the series, Pilar Panero, Associate Professor of Social Anthropology and serves as the driving force and coordinator of the European MASKS project. She presented the ritual density of several of our winter festivities.

The lecture offered a journey through the traces of masked groups in the province of Zamora, closely examining the winter custom of the Zangarrón of Montamarta—one of the most complex masked ceremonies in the northwest of the Iberian Peninsula, celebrated on New Year’s Day and Epiphany. The lecture and subsequent discussion were grounded in extensive fieldwork, documentary analysis, the historical evolution of the tradition, and the transformations over time of its central figure (the Zangarrón mask), alongside shifting contexts and new organizational frameworks promoted by the local community.

The talk was supported by visual materials drawn from the researcher’s fieldwork, which were discussed collectively.

Georgiana Vlahbei (Ethnology Studies, NMRP) acted as moderator and coordinator of the activity.

The event was jointly organized by the Valladolid Photographic Association and Espacio Seminci, which is part of the “Valladolid, Creative City of Cinema” project and is linked to the prestigious Valladolid International Film Week.

Our principal researcher, Professor Pilar Panero, accompanied photographer Miguel Ángel Cruz Sánchez, a collaborator of MASKS, in the presentation of his ambitious photographic project focused on the masks of the northwestern Iberian Peninsula.

The event began with a screening of his work, followed by an engaging discussion with audience participation. Several people connected to different masking traditions were present: Pedro Granado (from Los Machurreros of Pedro Bernardo, province of Ávila), Isaac Macho (from Los Carochos of Riofrío de Aliste, province of Zamora), and Pablo Canal, “El Sidru” (from the Sidros y Comedies of Valdesoto, Principality of Asturias), who explained some details of their traditions.

The audience showed great interest in the ongoing transformations experienced by mask celebrations, beyond their historical links to ancient rites of passage, fertility, protection, and renewal. These festivities allowed rural communities to strengthen their connection with the cycles of nature, the passage of time, and the essential forces that, in agrarian societies, symbolized life and death. Although many have ancient roots —while others emerged more recently and are currently being recovered and reinvented— all of them share a strong symbolic dimension.

We were delighted to take part in this discussion with such an attentive audience interested in mask culture. We would especially like to thank Ángel Pérez González, president of the Valladolid Photographic Association, and Carmen Castaño Villar, head of Espacio Seminci, for the invitation.

The photographs are courtesy of Carlos Blanco