Showing posts with label Carnival. Show all posts
Showing posts with label Carnival. Show all posts

Monday, January 20, 2014

Today is Fat Tuesday: A Whirlwind Tour of Latin American Carnival Celebrations

article from March 3, 2011
by Julie R Butler

Today, for Fat Tuesday, we will take a whirlwind tour of Carnival celebrations in Latin America, beginning in the Caribbean.

Trinidad and Tobago Carnival

Trinidad and Tobago Carnival is the most notable of the Caribbean festivals. The sounds are of calypso, the Afro-Caribbean music with melodious steel drumming, and its descendant, soca, which combines many newer sounds such as reggae, R&B, and DJ.

It is interesting to note that it was the outlawing of stick fighting and African percussion that brought about the melodic steel drum sounds that are such familiar icons of the Islands today. The Africans who were brought over by the French as slaves were also originally banned from participating in Carnival, so they created their own festival called Canboulay, which later became part of the distinctive celebration that has spread throughout the Caribbean.

The main events of the Trinidad and Tobago Carnival are the competitions to be named Calypso Monarch, Kind and Queen of the Bands, International Soca Monarch, Carnival Road March (which is the most played song in the parades), Panorama (for steel drum music), and other titles for stick fighting and limbo. Each band that competes has its own King and Queen, who wear enormous costumes that often require wheels and extensions to hold up. And, of course, there are dancers decorated with feathers and sequins.

In many traditions, there are also distinctive Carnival characters that have evolved through time. In Trinidad and Tobago, these include the rhyming speechmaker, Pierrot Grenade; the wandering black Minstrels in whiteface; the outrageous braggart, Midnight Robber, Jab Molassie, a devilish figure with an entourage of imps; and Dame Lorraine, a caricature of an 18th-century French aristocrat, usually played by a man.

Mexico

Moving on to Mexico, the biggest Carnival celebrations are held in Mazatlán, Mérida, and Veracruz, with colorful folkloric dance performances and parades that blend indigenous and European traditions. They are accompanied by fairs, complete with rides and games, and may also include bull riding and other rodeo competitions in the north, while in the south and along the coast, more indigenous elements are present. Regional foods are important parts of the celebrations.

Central America

Carnival in Panama is a big deal, featuring huge concerts with national and international artists in addition to the Carnival parades. The main events are held in Las Tablas, on the Azuero Penninsula in the southwest of the country, and in Panama City.

Elsewhere in Central America, Mazatenango, Suchitepéquez, in the Pacific coastal lowlands of Guatemala, is famous for its eight-day Carnival feast, which keeps alive many of the unique cultural traditions of the region.

Venezuela and Colombia

Venezuelan youths celebrate Carnival with a two-day water fight, along with other family festivities. Meanwhile, in Barranquilla, Colombia, the competitions are with flowers. The festivities there commence with the Battle of the Flowers Parade on Saturday, lead by the Carnival Queen, tossing flowers out to her subjects. The Grand Parade fills the streets on Sunday with such distinctively Colombian music and dance styles as the sultry cumbia dancing, the garabato, which celebrates the victory of life over death, and the torito folk dancing that portrays the bullfight. The four days of revelry come to an end when Joselito Carnaval dies and is symbolically buried. Because colonial authorities censored Carnival celebrations in the larger political centers such as Bogotá and Cartagena, the festivals grew, incorporating local indigenous traditions, in smaller towns such as Barranquilla and Pasto. The vivacity and variety of the many different customs is the focus of Colombian celebrations.

Ecuador

The Ecuadorians also partake in water play, as their rendition of Carnival is heavily influenced by pre-Columbian traditions that celebrated the harvest season with the throwing of flour, flowers, and perfumed water. To this day, the festival in Ambato is named Fiesta de las Flores y las Frutas. The festivals in Ecuador usually begin with the election of Father Carnival, who will lead the parade.

Bolivia

The Bolivians, too, celebrate with water play and distinctive regional music styles. The country’s biggest Carnival celebration occurs in the central Bolivian city of Oruro. This event begins by honoring La Vírgin de Socovon, the patron saint of miners, with a marching band competition. This is followed by three days and nights of parading, where groups perform intricately symbolic folkloric dance forms with names such as Caporales, Diablada, Pujlay, and Tinku. They represent an intriguing blend of Andean indigenous with Catholic traditions.

Peru

The Peruvian town of Cajamarca is known as this country’s Carnival Capital. Here, the festivities are centered around the unsha tree, which is adorned with ribbons, balloons, fruits, toys, and even bottles of booze (something for everyone!). After a period of dancing around it, couples take turns striking at the tree, and when it falls, the prizes are claimed.

Argentina

Finally, we come to Argentina, where Carnival is celebrated most flamboyantly in the north. In the northeastern province of Corrientes, the influence of Brazil is evident in the samba school costumes and parades. Uruguayan camdombe influences are also strong here. The capital city of Corrientes has a version of a Sambadrome called the Corsódromo, but neighborhood parties and parades carry forward the original peoples’ spirit of Carnival. The province of Corrientes is said to be “the cradle of Argentine Carnival.” From there, the traditions spread into the neighboring province of Entre Ríos, where the city of Gualeguaychú also has a Corsódromo. As in nearby Uruguay, the competition between comparsas, or performing groups, goes on for many weeks starting in late January or early February.

Meanwhile, Jujuy, in the northwest, has a very different kind of culture, and this is reflected in the nature of the Carnival festivities, which are more similar to those of Bolivia.

In Buenos Aires, the Murgas play a leading role and the Carnival celebrations mirror those that take place across the Río de la Plata in Montevideo – with more of a focus on the Tango, of course!

[Images via Wikipedia]

Julie R Butler is a writer, journalist, editor, and author of several books, including Nine Months in Uruguay and No Stranger To Strange Lands (click here for more info). She is a contributor to Speakout at Truthout.org, and her current blog is Connectively Speaking
email: julierbutler [at] yahoo [dot] com, Twitter: @JulieRButler

Carnival in Brazil

article from March 7, 2011
by Julie R Butler

This is it – Carnival festivities have begun over the weekend leading up to Fat Tuesday in an explosion of sound and color.

The word “carnival” originates from the Latin phrase, carnem levāre, which refers to the putting away of meat and other rich foods for Lent. Its roots reach back to the Ancient Roman celebrations of Saturnalia, when the social order was reversed and punishment suspended and Lupercalia, when Rome was cleansed of evil spirits, releasing health and fertility at the beginning of spring. The beginning of six weeks of penitence and self-denial offered the perfect opportunity for the Roman Catholic Church to incorporate these irrepressible celebrations of indulgence and excess into their calendar, and they have been further blended with indigenous American and African traditions in the New World to spectacular effect.

Carnival in Rio

The most famous in the world is, of course, Carnival in Rio de Janeiro. There are five magnificent parades at the Sambadrome, where groups from the samba schools, in their extravagant costumes on elaborate floats, compete for prestigious prizes. There are scores masquerade balls, themed balls, and costume balls. And there are open-air dances and boisterous street parties where blocos, or neighborhood percussion or music groups, parade through the streets accompanied by their entourage of revelers.

To get an idea of the scope of the Rio Carnival, check out Rio Carnival Services. This website offers total immersion in the event. Besides hotel bookings and show tickets, they offer costumes for purchase, and you can even download Samba School songs to learn so you can really join in all the fun. Start making plans for next year, or just enjoy the many photos and detailed descriptions of all the events.

Diverse musical genres of Bahia

Bahia is a state in Northeastern Brazil that has some different Carnival traditions, including distinct styles of music. Whereas Rio and São Paulo are all about Samba groups, Bahia’s styles are more diversified:

  • Afoxês are rhythm-based groups associated with the African-derived Condomblé religion.
  • Trios Eléctricos were developed in the 1950s, and the term refers to trucks loaded with huge speakers blasting the axé musical genre that originated from this region.
  • Amerindian groups are said to have been inspired by Western flicks from the United States, with Native American names and dress becoming romanticized.
  • Other inspiration from the north has resulted in the Blocos Afros, who were influenced by the Black Pride Movement as well as movements in Africa and reggae music in its denouncement of racial oppression.


As these musical genres indicate, Carnival in Bahia has been more of an expression of social status. In fact, for many years it was an uprising of the black population against the status quo, as the white elites were horrified by and tried to ban what they saw as “primitive” drumming and dancing in the streets, but to no avail.

Farther north and east, the state of Pernambuco has yet another unique way of celebrating Carnival. Two traditions are found here:
  • Frevo is accompanied by a distinctive, fast-paced, acrobatic type of dance that evolved from the fighting style of capoeira
  • Maracatu is a performance group involving impressive drumming, a singing chorus, dancers, stock characters that include the king and queen, the African traditional calunga doll, Afro-Brazilian Condomblé, and mockery of the baroque Portuguese royal court.

The festivities in Pernambuco go on for some two weeks.

Elsewhere in Brazil

Carnival in São Paulo is very similar to that of Rio de Janeiro, except that the parades take place in the city’s Sambadrome on Friday and Saturday rather than on Sunday and Monday.

Other important carnival centers in Brazil include the historic colonial city of Ouro Preto, Florianópolis, and Porto Alegre.

Stay tuned for more Latin American Carnival traditions tomorrow.

[images via Wikipedia]

Julie R Butler is a writer, journalist, editor, and author of several books, including Nine Months in Uruguay and No Stranger To Strange Lands (click here for more info). She is a contributor to Speakout at Truthout.org, and her current blog is Connectively Speaking
email: julierbutler [at] yahoo [dot] com, Twitter: @JulieRButler

Uruguayan Carnival

article from February 15, 2011
by Julie R Butler

Uruguay’s Carnival Season is the longest in the world, lasting throughout the southern hemisphere summer. The festivities celebrate a combination of themes that include the summertime abundance and playfulness, liberty in the form of music, dance, and free expression in the streets, and irreverent social commentary as an art form. The duration throughout the entire summer, the irreverence and mockery, and the costumes and use of masks all emphasize the relationship of Uruguayan Carnival with its forefathers in Europe such as the Ancient Greek Anthesteria, a wine festival during which social order was inverted, the Italian Commedia dell’Arte, a popular medieval theater form, Zarzuela, from Spain. Such raucous celebrations and theatrical traditions imported from European colonialists were infused with cultural influences of the African slaves who were brought to the region by the Portuguese – to spectacular effect.

The preliminaries

Several youth events occur before the official beginning of Uruguay’s Carnival in January that nurture up-and-coming talent. Las murgas jovenes are a series of contests that occur in November, and el carnaval de las promesas features the young people’s Carnival parade and contests in December. Also before Carnaval de Uruguay officially begins, the queens and vice-queens of the parades who will make their way through the streets of Montevideo must be elected.

The parades and balls

This year, the official Carnival festivities began January 27 with Desfile Inaugural del Carnaval, followed by Desfile de Llamadas on February 3-4 and Desfile de Escuela de Samba on February 10. The Inaugural Carnival Parade is made up of floats, colorful costumes, music, and dance, and the Samba School Parade also shares traditions that are the hallmarks of Carnival in Brazil. The Parade of Calls, on the other hand, consists of traditional groups of drum lines, known as candomberos, in an impressive show of uniquely Afro-Uruguayan culture. The Uruguayan Candombe drumming has been recognized by UNESCO as one of the Intangible Cultural Heritages of Humanity.

The masquerade balls also occur are relics of the first decades of the twentieth century, when extravagant balls were held in clubs, hotel ballrooms, and theaters.

The musical theater

Then there are the musical theater contests. Outdoor stages are set up in cities around Uruguay as well as in locations throughout Montevideo. There are five categories of performance groups, the most famous of which are the Murgas. A Uruguayan murga is a very specific kind of short play that is performed by a group of 13-17 performers. Each group consists of the chorus, who recite their lines and sing a cappella multi-harmony in a very melodramatic style, accompanied by a bass drum, a snare drum, and cymbals. They are all dressed in flamboyant jester costumes, their faces either masked or painted, and the themes are satirical socio-political commentary about current events. Often, their songs become very popular with Uruguayans, as the use of murgas as a form of subversive, popular resistance during the dictatorship has given them a special status. The porteños of Buenos Aires also perform a version of the murga, but it focuses more on the dance than on the vocals.

Comparsas de negros y lubolos are another manifestation of Afro-Uruguayan culture, where blacks are joined by whites who have painted their faces black, and they perform music and dances that are linked to the drumming style known as el candombe. These groups include a dance corps, a drum line, and characters derived from African traditions, such as the Old Mother, the Medicine Man, and the Magician. Larger comparsas participate in parades, while smaller groups that perform on stage emphasize the singing component over the drumming and the dancing.

Humoristas and Parodistas are two very similar categories of musical theater. They are both comedic plays, performed in song, dance, and recitation, with the latter required to be a parody of a previous work, such as a novel, a film, or a historical figure. The Parodistas have become very popular in recent years. Meanwhile, Las Revistas, which frivolously mock international journals, have gone in the opposite direction.

The creativity, talent, and mischievous attitudes that come together in these unique celebrations make for an amazing way to experience the spirit of Uruguay.

for more see:




Portal Las Murgas [in Spanish, lots of photos]

[Photo by Jimmy Baikovicius on Flickr.com (see more on his photostream)]

Julie R Butler is a writer, journalist, editor, and author of several books, including Nine Months in Uruguay and No Stranger To Strange Lands (click here for more info). She is a contributor to Speakout at Truthout.org, and her current blog is Connectively Speaking
email: julierbutler [at] yahoo [dot] com, Twitter: @JulieRButler

Colombia Begins the Latin American Carnival Celebrations

article from February 14, 2011
by Julie R Butler

Carnival season has already begun in some parts of Latin America. The pageantry, the parades, the contests, the music and dance – this is what Carnival is all about. Yet the regional expressions of this annual celebration are richly diverse.

Among all of the different celebrations, those of the Andean southwestern region of the Colombia, centered around the city of Pasto, are the most complex. Here, there are not only a series of carnival events, but the pre-Carnival end-of-year festivities are also an important part of the celebrations.

Colombia’s Carnival season

In Colombia, the festival season begins December 7 with Día de las Velitas, Day of the Little Candles, when candles and paper lanterns are set out, and in the big cities, spectacular displays are lit and celebrations sparked. Christmas season includes the nine days of Novena and Christmas itself, but it doesn’t end there. Día de los Inocentes, or All Fools Day, on December 28, begins to set the satirical and mischievous tones of Carnival with trickery. Then for New Years, the people of Pasto parade dolls and puppets that they have made from old clothes and scraps, filling them with sawdust (the gunpowder that was once used is now forbidden), which represent the old year and usually express political and social satire. The puppets vie for prizes, then they are burned at midnight, thus unleashing the Spirit of the New.

Black and White Carnival

Pasto’s Carnival de Negros y Blancos is held January 2-7 and has been designated a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO. It begins with a day that includes farmers making offerings of flowers and serenades to the Virgin of Mercy in exchange for her blessings, along with the Colonies Parade, where the area’s communities showcase their unique identities,. There’s also an alternative rock festival that encourages the melding of musical traditions and the emergence of new sounds.

The Children’s Carnival is held on the second day, and in recent years, a new parade has been added to celebrate indigenous cultures.

The following day commemorates the arrival to Pasto of a colorful group of characters – the Castañeda family – which involves yet more burlesque and making fun of society.

January 5 is Blacks’ Day, devoted to the motto ¡Que viven los Negros! It celebrates a day of freedom that was granted to the slaves of Colombia in response to a rebellion, and when everyone paints black cosmetics on their faces, all become one big family. The Carnival Queen makes her way through the city in a convoy on this day, inviting everyone to join in the playful festivities, and final preparations are made to the lavish floats that will come out on the streets for the following Whites’ Day Grand Parade.

On this parade day, people color themselves white with creams and talc, and the cry is ¡Que viven los Blancos! The parade is an abundance of many different kinds of music and dance, colorful costumes, performing groups known as Comparsas and Murgas, mini-floats, and mega-floats, with the Queen at the lead.

The final day is the Rural Culture and Cuy’s Festival, featuring regional rural fairs and the eating of cuy. This is a type of guinea pig that has traditionally been raised throughout the Andes as a food that is high in protein and low in fat and cholesterol.

Elsewhere in Latin America

Because the different Carnival celebrations are so varied, I have begun here and will continue this series with Argentina and Uruguay’s versions coming next, as they are currently in full swing, leading up to Brazil’s famous festivities, which, despite the tragic fire that just occurred in Samba City, will still be held March 4-8 of this year.

Other parts of Colombia share the more Caribbean-style Carnival festivities, which are what people in the US are familiar with because of the influence of the Haitians in New Orleans. These variations, having arisen due to different mixes of European, African, and indigenous influences, make the Carnival season in Latin America all the more intriguing.

[Image via Wikipedia]

Julie R Butler is a writer, journalist, editor, and author of several books, including Nine Months in Uruguay and No Stranger To Strange Lands (click here for more info). She is a contributor to Speakout at Truthout.org, and her current blog is Connectively Speaking.
email: julierbutler [at] yahoo [dot] com, Twitter: @JulieRButler