The Supernatural Role of Masks in Nigeria’s Yoruba Tribal Culture

Julia Kelley

Whether the feminine celebration of the Gelede mask or the spiritual transformation through the Egungun mask, these cultural objects perform an imperative role in the Yoruba people’s religious culture. 

Egungun Festival Masks. Fermi12. CC BY-SA 4.0. 

African masks have been functionally used for thousands of years. Recognized for their supernatural qualities, they transform wearers into new entities, symbolize animal or ancestor spirits, mythological heroes, or moral values, and can even be a way of honoring specific individuals. Moreover, specific ceremonies and masks act as visual representations of local customs. With a vibrant music and dance tradition, the Yoruba people are known for their notable mask culture. The Yoruba are one of Nigeria’s largest ethnic groups, mainly concentrated in the southwestern part of the country but also found in smaller groups throughout Benin and Togo. For over 1,500 years, they have also been defined by their advanced urban kingdoms, strong economy and unique artistic tradition. Ceremonies are imperative to their way of life; vibrant festivals, rituals and weddings display cultural pride, celebrate history and connect the physical realm to the spiritual. Beyond the symbolic instruments and costumes used during these occasions, masks are also extremely vital due to their mystic transformative qualities.

Gelede Mask With Animal Figure. Daderot. CC0 1.0.

Gelede Dance. dave massie. CC BY 2.0.

Gelede Mask With Woman Figure. Kugbenu (Vervaardiging). CC0.

However, when and how masks are used depends on their corresponding festivals. The Gelede mask, for example, is used during the Gelede dance. This ceremony is performed as a way to pay tribute to the primordial mother Iyà Nlà and recognize women’s role in social organization and development. Retracing the history and myths of the people, the Gelede takes place annually after harvests and during times of drought and epidemics. The masks, adorned with intricate motifs and vibrant colors, are worn as a way to honor “mothers,” or good witches who have power over bad ones, in their efforts to protect the community from negative forces. Individual masks reflect local traditions, such as through unique facial markings or figures included on the masks. 

Epa Festival Mask. Beeldhouwer / sculptor: Jospeph Agbana. CC BY-SA 3.0.

Epa Mask With Warrior Figure. Unknown author. CC BY 3.0.

Large Epa Helmet Mask. Em-mustapha. CC BY-SA 4.0.

Epa masks are worn during yam harvest festivals by young male dancers as they leap onto mounds. The rigorous movements of this dance indicate the community’s fate over the next year; if the dancer successfully leaps, then all is well, but if not, sacrifices are made to the forces that made him fail. Leading up to these ceremonies, the masks are kept in shrines, where they are fed to increase their power and efficacy. Since they are believed to contribute to the wearer’s success, heavy weight and symbols associated with war are characteristic of these masks.

Ancestor Egungun Mask. Sailko. CC BY 3.0.

Egungun Festival. Fermi12. CC BY-SA 4.0.

Yoruba Egungun Mask. Daderot. CC0 1.0. 

One of the most important masks in their ritual culture, the Yoruban Egungun masks are worn to worship ancestors. These are used during Odun Egungun or “masquerade” festivals, during which men move through town wearing masks as they embody their ancestors. These masks act as a visual manifestation of those being depicted, offering members of the community the opportunity to strengthen their familial bonds and ask for protection or blessings. 

Yoruba Festival Music and Dance. Tunde Akangbe. CC BY-SA 4.0.

Developed over centuries, ceremonial masks remain a significant part of Yoruban culture. African masks have also become admired in museums worldwide for their intricate designs, but contemporary artists and historians have noted that they are exhibited mostly as ethnography. Moreover, African masks have inspired many well-known European artworks, most notably in Picasso’s 20th-century modernist paintings. This Westernization has helped shape stereotypes around African communities, decontextualizing their current cultural significance. However, as the Yoruba masks demonstrate, festivals recommence every year, and the masks continue to visually represent the community’s rich history and religious tradition.

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Julia Kelley

Julia is a recent graduate from UC San Diego majoring in Sociocultural Anthropology with a minor in Art History. She is passionate about cultural studies and social justice, and one day hopes to obtain a postgraduate degree expanding on these subjects. In her free time, she enjoys reading, traveling, and spending time with her friends and family.

Opening the World to Deaf Travelers with Lily Yu

Zoe Lodge

The creator of Deaf Journey strives to make travel more accessible, one destination at a time. 

Gamcheon Culture Village in Busan, Korea.

When Lily Yu and her husband, Daniel Heidemeyer, both deaf individuals, began sharing travel photos on social media in 2018, she didn’t expect it to grow into a viral movement and a new career opportunity. What began as a private account for friends and family soon evolved into Deaf Journey, a travel media brand focused on sharing accessible guides, amassing over 100,000 followers across Instagram, Facebook, TikTok, YouTube and her blog.

Yu’s mission goes far beyond that of a typical content creator focused on travel. As a deaf traveler, she’s become a leading advocate for accessible travel, working to ensure that deaf and other disabled individuals are considered and included in every part of the travel experience, from hotel rooms to museum tours. “I want to make sure traveling is accessible for the deaf community,” Yu says. “That means having interpreters, flashing light fire alarms and visual doorbells in hotels, and captions or transcripts in museums and tours.”

Yu was raised on the East Coast and is a graduate of Gallaudet University, America’s only liberal arts university for the deaf. She began her travel content journey by posting photos from her trips for close friends. “People would ask, ‘How did you find that place?’” she said. “So I kept sharing, and then my husband and I created a public account. That’s when Deaf Journey really began.” Since then, the couple has traveled across all 50 U.S. states, partnered with nearly 40 tourism boards and visited 54 countries. Her husband often handles videography, while Yu takes the lead on editing and blogging. “I love writing and sharing stories that not only inspire but also educate,” she said.

Traveling while deaf presents unique challenges. Yu pointed out that travel accessibility tends to focus on mobility, including ramps, elevators and wheelchair access, but often allowing deaf-specific needs to fade into the background. “Hotels might have accessible rooms for wheelchairs, but nothing for deaf people. When we’re showering, we can’t hear someone knocking or a fire alarm going off,” she said. “I give advice to hotels about things like flashing light signals, visual doorbells or providing video relay services with interpreters.”

Gyeongbokgung Palace in Seoul, Korea.. Courtesy of Lily Yu.

From the sweeping beauty of national parks to hidden small-town charm, Yu's adventures have offered a broad view of the diverse travel landscape available within the United States. She described the natural beauty of Hawaii, noting the islands as one of her favorite destinations within the U.S. However, Yu was also surprised by smaller cities like Boise, Idaho, and Bentonville, Arkansas. “Boise had amazing food and outdoor activities. Bentonville really impressed me with its modern art museums and bike trails,” she said. “Every place is different, and that’s what makes traveling here so special.”

While visiting every corner of the U.S. was her first major travel goal, Yu is now setting her sights globally. She’s already visited 54 countries and has noted Japan as a particular champion of accessibility. “In Japan, even the soda cans have braille,” she says. “Crosswalks have both visual lights and floor indicators, which are helpful for blind travelers too. And in hotels, you can select your language on digital screens to communicate. I’ve never seen that level of accessibility before.” Yu also shared how museums in places like Ireland and Boston have become exemplary leaders in the world of accessibility. “During our trip to Ireland, the Guinness Storehouse provided us with an iPad featuring an International Sign interpreter. I’m also fluent in International Sign, which is different from American Sign Language (ASL). In Boston, there was a deaf guide giving an ASL tour. That kind of access makes a big difference.”

Yu with a capybara at Zoo to You in Paso Robles, California. Courtesy of Lily Yu.

Yu’s vision for Deaf Journey is not just to document her own experiences as a deaf traveler and content creator, but also to provide ease for future travelers. She’s passionate about providing accessibility tips, raising awareness on social media and consulting directly with businesses. “I think spreading awareness is key,” she says. “We need to educate hotels, airlines, museums and tourism boards on how to be more inclusive. And we need to share both the positives and the gaps, what works and what doesn’t, so we can keep improving.” Yu also emphasized the importance of using respectful and inclusive language. “We prefer to be called ‘deaf,’ not ‘hearing impaired,’” she said. “That term feels outdated and even offensive within our community.”

After conquering all 50 states, Yu’s next challenge is tackling the rest of the world, one accessible destination at a time. “I haven’t made a full plan yet,” she said. “TBut I’m hoping to partner with more tourism boards internationally. There’s still so much work to do.” With every post, blog and video, Lily Yu is proving that travel doesn’t have to be outside of the realm of possibility for disabled adventurers. It can, and should, be made accessible for everyone.

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Zoe Lodge

Zoe is a student at the University of California, Berkeley, where she is studying English and Politics, Philosophy, & Law. She combines her passion for writing with her love for travel, interest in combatting climate change, and concern for social justice issues.

Where Protest Lives in Paint: Oaxaca’s Murals of Resistance

Kennedy Kiser

Oaxaca’s vibrant street murals speak out against injustice, preserve Indigenous identity and invite travelers to witness resistance in color.

Oaxaca mural of revolutionary figures and Mexican

In the southern Mexican state of Oaxaca, visual art spills onto the streets and across crumbling walls, telling stories rarely captured in textbooks or by tour guides. Oaxaca has long been a hub for both Indigenous culture and political resistance. Its murals reflect this layered history with vibrant and sometimes defiant voices, often highlighting legacies of colonialism and systemic inequality. 

Many amplify the voices of the Zapotec and Mixtec peoples, who have long resisted marginalization and assimilation. As scholar Bethany J. Welch explains, murals function as a way for Indigenous communities to reclaim public space and narrate their histories, refusing to allow their story to be filtered through state-sanctioned narratives and the lens of tourism.

Mural referencing the 43 missing students in Oaxaca, Mexico. Tobias Versus. CC BY 2.0.

Strolling through neighborhoods like Jalatlaco or Xochimilco becomes a visual lesson in autonomy. On Jose Lopez Alavez Street, bold images of Indigenous women, animal protectors and corn deities appear on walls beside neighborhood cafes and galleries. The murals mix ancient Zapotec symbols with messages of resistance to gentrification, environmental destruction and cultural erasure.

Mural referencing the 43 missing students in Oaxaca, Mexico. Tobias Versus. CC BY 2.0.

In central Oaxaca, a wall along Berriozabal Street honors the 43 students from the Ayotzinapa Rural Teachers' College who disappeared in 2014 while on their way to a protest. Created by the Urtarte Collective, the mural preserves their names and images, reminding passersby of the unresolved violence that continues to haunt their community. Elsewhere, recurring symbols like the possum — a local protest motif — emerge in politically charged artwork critiquing police violence and land theft.

Muralist painting wall for Casa de la Cultura in Oaxaca. Alejandro Linares Garcia. CC BY-SA 4.0.

Murals also serve as visual protests against environmental injustice. Canadian mining company Fortuna Silver Mines carries out operations near San Jose del Progreso despite long-standing resistance from locals. Murals in neighborhoods like La Noria depict masked water defenders, cracked land and slogans like “El agua vale más que el oro,” or in English, “water is worth more than gold.”

Feminist mural reading “Sin mujeres no hay revolución” in Mexico City. Wendy Aviles R. CC BY-SA 4.0.

Themes of gender injustice are equally prevalent. Oaxaca, like many parts of Mexico, faces an ongoing femicide crisis. In response, murals around the Santo Domingo Cultural Center and near Carmel Alto feature the faces of missing women, alongside phrases like “Ni Una Menos” (meaning “not one less” in English).

While often photographed, these murals are not decorative. They are part of an ongoing dialogue between community and state, artist and audience. Travelers can deepen their understanding by participating in walking tours run by local artists, such as Caminos del Arte, which provide historical and political context while ensuring support flows back into the neighborhoods depicted on the walls.

Oaxaca’s murals are not permanent fixtures. They adapt in response to elections, tragedies and resistance movements. Some are painted over, others quietly fade and many are reborn in new forms. This continued renewal reflects a larger truth: in Oaxaca, street art is a living archive — one that documents what official records often omit.

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Kennedy Kiser

Kennedy is an English and Comparative Literature major at UNC Chapel Hill. She’s interested in storytelling, digital media, and narrative design. Outside of class, she writes fiction and explores visual culture through film and games. She hopes to pursue a PhD and eventually teach literature!

Buddhism in Tibet and the Sacred Dzogchen Caves

Julia Kelley

Spotting the landscape of Eastern Tibet are the Sacred Dzogchen Mountain Caves, natural formations that have been revered for centuries as sites of historic Buddhist enlightenment. 

Entrance to Pilgrimage Road in Dzogchen Monastery. Mario Biondi. CC BY-SA 4.0.

Found in the mountains of Eastern Tibet, also known as Kham, is the Rudam Valley. Here, 4,000 meters (13,123 feet) above sea level, plateaus imprinted with lakes and waterfalls are home to a population of more than 850,000 people. Tibetan Buddhist monasteries dot the landscape, reflecting the valley’s religious significance and contributing to its diverse culture. Most notably, in the Holy Dzogchen Area, surrounding communities have their own cultural expressions marked by distinct seasonal ceremonies and local traditions. The population in the Holy Dzogchen Area widely practices Vajrayana Buddhism, a form of Tantric Buddhism that emphasizes one’s potential to achieve enlightenment in a single lifetime rather than through many. This doctrine is taught in the Dzogchen Monastery, which offers a religious education to young people who desire a monastic life and serves as the main monastery for hundreds of branches throughout Tibet. 

Guru Rimpoche Cave. Anjan Kumar Kundu. CC BY 4.0.

The Holy Dzogchen Area’s beauty and devout culture are further exhibited through its natural cave complex, known as the Sacred Dzogchen Mountain Caves. From mountains to valleys, the thousands of caves that make up this system are a powerful feature of the local religious practice. The significance of these natural formations can be traced back to a series of influential Dzogchen Vajra masters who lived in them to reach enlightenment. Buddhism was first introduced to Tibet in the 7th century C.E., and was not translated until 641 C.E., when Tibetan king Songtsen Gampo unified the region and converted to Buddhism with his marriage to two Buddhist princesses. The king also invited important Buddhist masters, Padmasambhava and Shantarakshita, to teach the doctrine throughout the country. This included instruction in Dzogchen, an advanced system of meditation that gives the Holy Dzogchen Area its name. These leaders and their students utilized the isolated and serene nature of the surrounding caves to facilitate their enlightenment. The Snow Mountain caves, Shinje and Senge Druppuk caves, and Canyon caves are only a few of the sites that have become revered for their religious history, as Vajra masters such as Shri Singha and Padmasambhava lived and meditated in their solitude to achieve high realization. 

Sacred Cave Interior. slobo486. CC BY-NC-SA 2.0.

This long history as a Buddhist religious symbol has made the Dzogchen cave system a common pilgrimage route. Beyond the caves, the entirety of the Dzogchen Area has become associated with enlightenment due to these countless sacred sites. Many pilgrims first journey to the Dzogchen Monastery, where they can practice retreats and meditations in the monastery’s retreat center. From there, devotees travel to surrounding temples and sacred caves, walking in the footsteps of Buddhist leaders. On their blog, Yowangdu Experience Tibet, travelers Lobsang and Yolanda write about their personal experience with the pilgrimage. They describe one of the caves as “a sacred spot where the great Buddhist master had honed his wisdom and compassion in decades of meditation” and where “he had written the text that had moved and inspired” them, echoing Dzogchen followers’ continued belief and devotion to these holy spaces. 

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Julia Kelley

Julia is a recent graduate from UC San Diego majoring in Sociocultural Anthropology with a minor in Art History. She is passionate about cultural studies and social justice, and one day hopes to obtain a postgraduate degree expanding on these subjects. In her free time, she enjoys reading, traveling, and spending time with her friends and family.

Photographing the World With Laura Grier

Zoe Lodge

A peek into the fascinating life and career of a travel photographer.

Laura Grier in Peru. Courtesy of Laura Grier.

Having visited over 100 countries across all seven continents, photographer Laura Grier has hardly been chained to a desk throughout her career. Raised by two parents in the CIA, Grier was exposed to global travel at a young age. She spent part of her youth living in Jakarta, Indonesia, where her parents encouraged her to embrace travel and global living. She always knew that she didn’t want to spend her life in an office, and her dream career was something of a treasure hunter. “I was always interested in being sort of an Indiana Jones-like archaeologist, or a Jacques Cousteau marine biologist,” Grier said. “I’ve always been really interested in exploring the world and knowing more about it in general.” Her avenue to do so ended up being photography, which has enabled Grier to visit 101 countries and all seven continents to date. She hit the 100 mark last year, visiting 10 new countries on a road trip through Eastern Europe, primarily the former countries of Yugoslavia. Now, Grier’s work is concentrated around her social enterprise, Andeana Hats, and leading philanthropic group trips. “I’m bringing a group in September to Greenland and Iceland, meeting about 25 people, doing thought-provoking conversations, fun adventures, and photo shoots along the way.”

Grier discovered her passion for photography at 13 years old, after realizing she disliked being confined to a lab in science class. Encouraged by her mother, she pursued photography as a creative outlet and career path, eventually earning a dual degree in photojournalism and art photography from Syracuse University. Studying abroad in London and Florence deepened her love for travel, and she began photographing weddings in Europe while visiting her sisters. Offered a CIA job after college, she instead moved to Los Angeles, working at a photography studio and bartending to support side shoots. She launched a wedding photography division, eventually breaking into celebrity and destination weddings, which propelled her career into extensive global travel. “I love it because it's never the same thing. Like, that whole idea where I can't be stuck in an office and do the same thing every day—this is definitely the perfect kind of job for me,” she said. “It's never the same assignment or place you're going to or whatever, but it is a hustle.”

National Geographic brought Grier to Peru, which she noted as being one of her favorite destinations due to the country’s diversity, both in landscape and culture. “There are not many places in the world I like going back to, and I go back to Peru over and over,” Grier said. “It has anything you could possibly want. There are mountains that look like the Swiss Alps, the Amazon jungle, the most incredible ruins and culture, and deserts that look like the Sahara.” She recounted her first visit to Peru, where she had a “magical experience” swimming with pink Amazon river dolphins and piranhas at the Treehouse Lodge, nestled deep in the Amazon rainforest.

Laura Grier on a hike in her travels. Courtesy of Laura Grier.

Grier also holds a certain fondness for the places she has visited that are virtually untainted by human development, such as the Galapagos Islands or Antarctica. “Going to Antarctica was really, really special for me,” she said. “It was so mountainous and so pristine and the water was like nothing I’ve ever seen anywhere else in the world. It’s kind of magical to see that much vast, untouched land.” Grier visited Antarctica on a cruise, joining a small fraction of the population who have visited the remote continent. “There aren’t many places left on the planet where animals aren’t afraid of you,” she said, impressed by the almost complete lack of human impact. She had a similar experience when visiting the Galapagos Islands, saying, “It’s that same feeling [as visiting Antarctica] where you’re really part of nature.”

Upon establishing herself as a travel photographer, Grier reconnected with National Geographic, where she had previously worked. She began shooting for Novica, National Geographic’s artisan catalog, sparking her next big project, shooting “vanishing crafts” worldwide. Her work with artisans through National Geographic led her to an entirely new endeavor in Peru, which has become one of the most impactful places that Grier has visited in her career. Seeing an opportunity to share a cultural craft with the world, Grier and a friend launched a social enterprise called Andeana Hats to support female artisans in Sacred Valley, Peru, who have limited income opportunities, selling their handcrafted hats abroad and returning a much more significant profit to the artisans than they would have received through National Geographic or other large-scale artisan catalogs.

A group wearing hats and intention bands in Peru. Courtesy of Laura Grier.

The hats and their “intention bands,” which are decorative bands that carry unique designs and meanings derived from the Quechua language, help keep Indigenous Peruvian culture and history alive. “It first started off as what I thought would be a pretty simple passion project, and now it's taking over my house and my…everything,” she said. “I'm flying all over the world and doing markets and schlepping hats and meeting with artisan groups and it's really fun, but it's a lot of work.” Despite the challenges, Grier finds fulfillment in her work, knowing it creates a positive impact by benefitting these female artisans directly. Through it all, her career seems to keep circling back to National Geographic, the organization that shaped her path early on. “It’s funny because it just keeps on coming back full circle to National Geographic.”

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Zoe Lodge

Zoe is a student at the University of California, Berkeley, where she is studying English and Politics, Philosophy, & Law. She combines her passion for writing with her love for travel, interest in combatting climate change, and concern for social justice issues.