Monthly Archives: May 2025

La Paradura del Niño

La Paradura del Niño es una festividad católica de origen colonial que se ha arraigado en la cultura andina venezolana. Se celebra en todos los pueblos andinos de Venezuela, con especial importancia en Mérida. Se celebra en Mérida entre el 1 de enero y el 2 de febrero, con la culminación en el Día de la Candelaria. Consiste en pasear al Niño Jesús por las casas de la comunidad, acompañados de cantos, música y rezos, como una forma de celebrar su “nacimiento” y su desarrollo. 

La figura del Niño Jesús se lleva a pasear por las casas, a menudo en un pañuelo de seda. Se realizan cantos y se toca música tradicional, como valses, contradanzas y joropos. Se rezan rosarios y se cantan versos al Niño Jesús. En algunos casos, se organiza una procesión por las calles del pueblo. La Paradura del Niño es una oportunidad para compartir con familiares, amigos y padrinos, fortaleciendo los lazos comunitarios. La Paradura del Niño representa la celebración de la fe, la unidad familiar y la tradición cultural de los pueblos andinos, como en los pueblos del sur de Mérida. Cuando mas disfrute la tradicion era despues de tener mi primera hija. Yo me reunia con la faila del papa y haciamos biscocho, visitabamos muchas casas alrededor de familiares, amigos y vecinos. Yo me acuerdo que me hacia muy alegre porque yo iba con mi hija y comiamos. 

Translation:

The Paradura del Niño (The Child’s Parade)

The Paradura del Niño (The Child’s Parade) is a Catholic festival of colonial origin that has become deeply rooted in Venezuelan Andean culture. It is celebrated in all Andean towns in Venezuela, with particular importance in Mérida. The tradition celebrated in Mérida between January 1 and February 2, culminating on Candlemas Day. It consists of carrying the Baby Jesus through the homes of the community, accompanied by songs, music, and prayers, as a way to celebrate his “birth” and development.

The figure of the Baby Jesus is carried through homes, often in a silk scarf. Songs are sung and traditional music is played, such as waltzes, country dances, and joropos. Rosaries are recited and verses are sung to the Baby Jesus. Procession: In some cases, a procession is organized through the streets of the town. It is an opportunity to share with family, friends, and godparents, strengthening community ties. The Paradura del Niño represents the celebration of faith, family unity, and the cultural traditions of Andean communities, such as those in the towns south of Mérida.

I enjoyed the tradition the most after having my first daughter. I would get together with the father’s family, and we would make biscuits, visiting many homes with family, friends, and neighbors. I remember that it made me very happy because I would go with my daughter, and we would eat.

Analysis

The Paradura del Niño illustrates how religious folklore becomes a living practice that reinforces communities’ shared identity and social festivity. This tradition is rooted in Catholic ritual but shaped by regional Venezuelan customs, which exemplifies what Abrahams (1993) refers to as the transformation of “phantoms of romantic nationalism” into local practices that define belonging and heritage. As a blend of domestic ritual and social festivity, the Paradura aligns with Appadurai’s (1988) view of cultural practices as simultaneously sacred and social, these are moments when communities imagine themselves through shared performance. The singing of verses and communal prayer reflects emphasis on folklore as a medium for moral instruction and social solidarity. The informant’s personal experience, finding new joy in the tradition through her role as a mother, shows how she emotionally engaged with tradition. As a festival centered around a divine child and enacted in domestic spaces, Paradura del Niño also echoes the symbolic focus on family, innocence, and renewal that Tok Thompson (2019) associates with vernacular sacredness in modern folklore. It is not only a celebration of faith, but a lived, evolving narrative of family, food, and joy that binds individual memory to collective ritual.

Las ferias de San Sebastián

Context

The San Sebastián Fairs are cultural festivals in Venezuela, particularly in the city of San Cristóbal, Táchira state, dedicated to Saint Sebastian, the city’s patron saint. The San Sebastián International Fair, as it is known, is one of Venezuela’s most important and renowned festivals, with more than 140 events throughout the month of January. The festivities begin on January 6 and culminate on February 2, with the main date being January 20, on which the Mass of Saint Sebastian is celebrated.

Content

La feria tiene sus raíces en la devoción a San Sebastián y se ha convertido en un evento cultural importante que refleja la identidad venezolana y tachirense. Las actividades de la feria se extienden por varios días, con más de 140 eventos, incluyendo conciertos, bailes, gastronomía, artesanías y más. El 20 de enero es la fecha central de la festividad, con una misa especial y masiva participación de la comunidad local y turistas. La feria cuenta con la participación de autoridades locales, como el gobernador y el alcalde de San Cristóbal, así como el respaldo de la comunidad y la policía. La feria atrae a miles de turistas nacionales e internacionales, siendo considerada una de las mejores ferias de Venezuela.

Esta festividad me parece que es una experiencia multirecreacional. Ibamos a los toros, bailes internacionales, orquestas internacionales. Duraba toda una semana completa. Estas fiestas se celebraban el la ciudad donde yo naci, San Cristobal. En esta ciudad y durante la duracion de esta tradiciomm nacieron mis dos hijos, en diferentes anos. Esta es una de las celebraciones mas importantes para mi. Tambien me acuerdo que habían exposiciones de Brazil y de Colombia. Unas de las cosas que ellos traian era ganado de otros paises. Estea es mi festividad mas esperada de todo el ano. 

Translation

The fair has its roots in the devotion to Saint Sebastian and has become an important cultural event that reflects Venezuelan and Táchira identity. The fair’s activities extend over several days, with more than 140 events, including concerts, dances, gastronomy, crafts, and more. January 20th is the main date of the festivities, with a special mass and massive participation from the local community and tourists. The fair enjoys the participation of local authorities, such as the governor and mayor of San Cristóbal, as well as the support of the community and the police. The fair attracts thousands of national and international tourists, and is considered one of the best fairs in Venezuela.

I consider this festival to be a multi-recreational experience. We went to see bullfights, international dances, and international orchestras. It lasted a full week. These festivities were celebrated in the city where I was born, San Cristóbal. My two children were born in this city, in different years, during the duration of this tradition. This is one of the most important celebrations for me. I also remember there were exhibitions from Brazil and Colombia. Some of the things they brought were cattle from other countries. This is my most anticipated holiday of the year.

Analysis

This is an example of what Appadurai (1988) calls the “production of locality,” a process where global and local cultural elements fuse through food, music, performance, and spectacle. With its over 140 events, from livestock exhibitions from different parts of South America to live concerts of artists across the country, the feria has become a multilayered expression of Venezuelan and regional Tachirense identity, serving as the main event of the year for Tachirenses. As Abrahams (1993) suggests, such public festivals function as collective enactments of identity, shaping and reflecting national sentiment, especially in times of social or political flux. This feria has been a major help in making Venezuelans have a common place for community when the political state of the country is tense, especially in San Cristobal where this feria takes place. 

El año viejo

Context

The tradition has its roots in the Andean region, although it has spread to countries such as Colombia, Ecuador, Peru, Venezuela, and parts of Mexico. It is believed that its origin dates back to the 19th century in Ecuador, when the citizens of Quito burned figures made from discarded rop and straw to commemorate a year marked by many illnesses and tragedies.

Content

La crema del año viejo significa para un Venezolano un personaje del cual queremos despedirnos, puede ser un personaje típico de tu comunidad o un personaje político, el cual queremos que se vaya definitivamente todo el grupo familiar, lo caracteriza según sea el personaje buscando ropa vieja, haciendo caracterizaciones de manera Comediante, exagerando un poco las facciones y las medidas del personaje, esto significa que cuando hacemos el año viejo. Queremos que esa persona sea quemada y no entre en el Año Nuevo, queriendo así despedir todo lo negativo que ese personaje tenga y sea influencia para nuestro país o la comunidad, se hace con trapos en la parte interior, se rellena con pólvora y se quema antes de qué llegue la medianoche del 31 de diciembre, por lo general, se quema en una plaza o un espacio bastante abierto para evitar cualquier peligro, todos ven la quema del año viejo y celebran alrededor de este,es una caracterización que siempre se espera hacer en Navidad, también se hace un desfile donde se muestra antes y se pide colaboración a la comunidad para poder rellenar de pólvora este personaje, por lo general se hace de generación en generación en todos los grupos familiares de Venezuela. Esta tradicion tambien se celebra para despedir el ano viejo, dandole un ultimo despedida, recordando todos los momentos del ano. 

De nina me acuerdo que me daba mucho temor que la polvora me quemara o que quemara la casa. Mientras contaban antes de empezar a quemar el ano viejo, yo iba y me escondia lejos de la polvora. Mas que el miedo a la polvora, yo tenia miedo de el fuerte sonido que hacia el ano viejo al quemarse. Me acuerdo que un dia, una de las chispas de el ano viejo esploto del muneco y se dirigio a mi tia, que estaba desprevenida hablando. Gracias a Dios solo una parte de su vestido se quemo, pero ella esta bien. 

Translation

For a Venezuelan, the cream of the old year means a character we want to say goodbye to, it can be a typical character from your community or a political figure, which we want to leave definitively, the whole family group characterizes it according to the character by looking for old clothes, making characterizations in a comedic way, exaggerating a little the features and measurements of the character, this means that when we make the old year. We want that person to be burned and not enter the New Year, thus wanting to cast away all the negative influences that this person has on our country or community. It’s done with rags inside, filled with gunpowder, and burned before midnight on December 31st. It’s usually burned in a plaza or a fairly open space to avoid any danger. Everyone sees the burning of the old year and celebrates around it. It’s a characterization that is always expected to happen at Christmas. There’s also a parade where it’s shown beforehand, and the community is asked to help fill this character with gunpowder. It’s usually done from generation to generation in all family groups in Venezuela. This tradition is also celebrated to bid farewell to the old year, giving it one last farewell, remembering all the moments of the year.

As a child, I remember being very afraid that the gunpowder would burn me or the house. While they were counting before they began to burn the old year, I would go and hide far away from the gunpowder. More than being afraid of the gunpowder, I was afraid of the loud sound the old year made when it burned. I remember one day, one of the sparks from the old year burst from the doll and flew toward my aunt, who was off guard, talking. Thank God, only part of her dress was burned, but she’s fine.

Analysis

This practice had a spiritual significance: to ward off bad energies and bad memories, and to purify the environment to welcome the new year with hope and renewal. Over time, the tradition was enriched with elements of satire and popular culture, transforming the dolls into representations of political figures, entertainment figures, or relevant situations of the passing year. Furthermore, they are attributed with a cathartic nature, allowing communities to express their emotions and symbolically close cycles.

Fresh Paper and New Beginnings: A Mississippi School Ritual

Nationality: American
Age: 73
Occupation: Retired
Residence: Alameda, California

Informant Information:

Age: 73

Date of Performance: 2/26/2025

Language: English

Nationality: American

Occupation: Retired

Primary Language: English

Residence: Alameda, California

Text

“There were lots of customs and rituals around holidays in my family, all of them pretty standard fare. Christmas had a visit from my Aunt and Grandmother bringing coconut cake and boiled custard; Birthdays involved having to share one thing you wanted to do, learn, or have before your next birthday. And the first day of summer vacation involved a fishing trip with our Father. But one that had ritualistic qualities, but no associated holiday, was the trip to the department store to ‘get ready for school.’ It always involved new shoes and clothes, really boring when you are a 10-year-old fidgety boy. But my favorite part was the school supply junket that followed. It was before day packs, so the best thing was the three-ring binder, tricked out with color-coded dividers and little plastic zip-up pockets for pencils and such. As I got a little older, exotic equipment became a part of the ritual, like compasses (with the mandatory warning that it could put an eye out, so ‘be careful, it’s not a toy’), protractors, which seemed to add precision to life that it had lacked before, and even things that had magical properties, like slide rules. All of these were great, but the thing I loved best and still remember was the collection of aromas. New textbooks (in Mississippi, you had to provide your own in 1958), fresh binder paper, and is there anything more heavenly than that smell of a newly opened box of crayons?”

Context

The informant reflects on the many family traditions and rituals they experienced growing up. Many of these rituals were associated with holidays like Christmas, where family members would visit with special treats like coconut cake and boiled custard, or birthdays, which involved sharing personal goals for the year ahead. However, one ritual that stood out for the informant was the back-to-school shopping trip, which had no particular holiday association. Each year, this trip involved buying new clothes and shoes for the school year, which the informant found boring as a 10-year-old boy. However, the school supply shopping afterward became the highlight of the ritual. The informant eagerly anticipated picking out three-ring binders with color-coded dividers, compasses, protractors, and even slide rules. As the informant grew older, the supplies became more complex, symbolizing the increase in academic responsibility. Despite the excitement of the supplies, what remained most memorable were the smells—the fresh textbooks, binder paper, and crayons—that filled the air. These smells symbolized the start of a new chapter, the excitement of a new school year, and the informant’s connection to learning and growth.

Analysis

This ritual highlights how sensory experiences, particularly smell, can create lasting memories and emotional connections. While the back-to-school shopping trip might have seemed mundane to the informant as a young boy, the school supplies became a powerful symbol of new beginnings, knowledge, and growth. The ritual was not just about obtaining physical items; it was about the feelings and anticipation associated with the new school year. The distinct smells of fresh supplies created an almost magical experience for the informant, and these sensory memories helped shape the meaning and significance of the ritual. The ritual also reflects how material items, like school supplies, can carry cultural and personal significance. For the informant, these items represented learning, precision, and creativity. The mention of “magical” slide rules also speaks to the wonder and awe that the informant felt toward these tools as a child. Overall, this ritual became a means of connecting with education and family, reinforcing the idea that even seemingly routine practices can have a profound impact on one’s childhood memories and personal development.

Blessing the Fleet: A Family’s Springtime Tradition

Nationality: American
Age: 73
Occupation: Retired
Residence: Alameda, California

Informant Information:

Age: 73

Date of Performance: 2/26/2025

Language: English

Nationality: American

Occupation: Retired

Primary Language: English

Residence: Alameda, California

Text

“Many of the years of my childhood were spent near the Mississippi Gulf Coast. The region was settled by the French in the early eighteenth century, and their Catholic influence still prevailed in many festivals. Every spring, there was a blessing of the shrimp boat fleet in Bayou La Batre, in the bay near Mobile. We went several times and watched as the local Bishop, in all of his spring regalia—pectoral cross, mitre, and crozier (his staff)—blessed the fleet. My mother adopted the celebration for our family of seafood lovers. On the designated Sunday, she and her friend Ruth would prepare a big feast of fried and boiled shrimp, gumbo, Cajun potato salad, and fresh strawberry shortcake. The “Catholic” way to make the shortcake was not with cake and ice cream, but with seven layers of a large crispy wafer, interspersed with strawberries and topped with whipped cream.

Though we were not Catholic, we would always have Father Ryan at the table, decked out in his finest French Cassock to offer the blessing and, of course, stay for the meal. Most of the time, Father Ryan was known to us as “Tim,” one of my father’s Friday night poker buddies, who never even had a collar on then, much less the cassock. Afterwards, we sang some fun songs that I always thought had something to do with the shrimp boats, as there were lyrics about seamen, stormy nights, and high-seas adventures. Later in life, I discovered that these were traditional sea shanties that were just put into service for the blessing festival. I guess there aren’t a lot of songs about shrimp boats.”

Context

The informant grew up on the Mississippi Gulf Coast, where the French Catholic influence lingered in the community and shaped local traditions. One key tradition was the blessing of the shrimp boat fleet in Bayou La Batre, an event that became central to the informant’s family celebrations. Despite not being Catholic, the informant’s mother embraced the spirit of the festival and made it her own by preparing a lavish seafood feast, inspired by the flavors of the region. The presence of Father Ryan, who was also a close family friend, added an extra layer of warmth to the tradition. Father Ryan, often known to the family as “Tim,” would wear his cassock, a long, close-fitting black robe traditionally worn by Catholic clergy during religious ceremonies. This garment, which typically reaches the ankles and is a symbol of his clerical status, added a sense of formality to the celebration. The informant’s family would gather around the table for the blessing and feast, sharing in the joy of the event. After the meal, they sang traditional sea shanties, songs originally associated with sailors, that were adapted for the occasion. These playful tunes, centered on themes of seafaring, storms, and adventure, became part of the family’s unique celebration of the shrimp boat blessing. The informant’s family embraced the blending of community and personal rituals, transforming the tradition into something special for their own family.

Analysis

This celebration reflects the intersection of cultural influence, local customs, and familial bonding. The Catholic tradition of blessing the shrimp boat fleet becomes a fusion of community and personal ritual, as the informant’s mother adapts the event to fit their family’s love for seafood. By incorporating Father Ryan into the meal, the family also bridges the gap between the religious and the secular, celebrating with a blend of formality and familiarity. The food itself, deeply rooted in the region’s seafood culture, becomes more than just sustenance—it serves as a connection to the environment and a symbol of the family’s traditions. The sea shanties, originally created for sailors, offer a playful connection to the world of shrimping, and the informant’s discovery that they were traditional songs only enhances the sense of communal heritage. The family’s adaptation of the blessing, complete with a festive meal and singing, shows how traditions can be transformed and passed down, enriching family life and reinforcing connections to both the past and the present.