Author Archives: Maria Bautista Vivas

Twelve grapes under the table before New Year

Context

Originating in Spain, the tradition of eating grapes at the stroke of midnight is believed to welcome good fortune and prosperity in the new year. The custom began back in the late 1800s but was popularized in the early 1900s when farmers in the Alicante area produced an overabundant harvest and needed a way to increase grape sales. As the sweet tradition goes, you’re supposed to eat the grapes one at a time at each clock’s chime. If you can finish all 12 grapes within a minute, you’ll see luck, success, and positive energy in the new year.

Content

The informant recalled how she and her three sisters would go under the table and eat 12 grapes before midnight on New Year’s. They would imagine the success they wanted while eating the grapes. She knew it was not likely it would work, but she didn’t want to take the risk of not eating the grapes and not getting the luck for the new year. She also said it was a fun tradition connecting her to her sisters. When her sister got proposed to, they all blamed it on the grapes. 

Analysis

This tradition blends superstition and emotional bonding. As Appadurai (1988) the text suggests that this tradition’s origins can reveal how economic practices can become cultural customs. It is not a necessity because they believe in it, but they fear the consequences of not participating in the tradition. The grapes become a symbolic ritual that, like in Bruner’s (2001) work, creates shared meaning and family intimacy, especially among the sisters, who use the tradition to frame events like marriage as fateful.

Diablos danzantes de Venezuela

Context

It is a June festival that dates back more than 400 years and is celebrated in different locations in the central region of Merida, Venezuela. It usually happens before Corpus Christi, a liturgical solemnity celebrating the real presence of Christ in the Eucharist. This is a very popular tradition since it is connected to Catholicism, the most popular religion in Venezuela. 

Content

La festividad de los Diablos Danzantes empieza el miércoles previo al Corpus Christi, en ella los hombres se disfrazan de diablos enmascarados que danzan en forma de penitencia, en tanto, un grupo de la iglesia católica avanza hacia ellos y lleva el santo sacramento. Todo esto bajo el ritmo de la música de influencia africana. En el momento final de la celebración, los diablos se rinden ante Dios, simbolizando el triunfo del bien sobre el mal.

De nina me daban miedo ver a la gente disfrazada y bailando y colocandose las mascaras grandes, y la musica era de tambor, entonces me parecia que era muy fuerte y satanica cundo las personas disfrazadas de demonios bailaban a esa musica. Pense que cundo seria grade se me iba a quitar pero haun hasta hoy tengo miedo de verlo porque de nina me traumatizaron. Pero me gusto que mis padres estubieran hay para consolarme. Entonces la tradicion se volvio un tiempo para que yo y mis padres nos acercaremos mas. 

Translation

The Dancing Devils festival begins on the Wednesday before Corpus Christi. During it, men dress up as masked devils and dance in penance, while a group from the Catholic Church advances toward them and carries the holy sacrament. All of this is accompanied by African-influenced music. At the final moment of the celebration, the devils surrender to God, symbolizing the triumph of good over evil.

As a child, I was scared of seeing people dressed up and dancing and putting on large masks, and the music was drum-like. It seemed very loud and satanic to me when the people dressed as demons danced to that music. I thought that when I grew up, it would wear off, but to this day, I’m afraid to see it because it traumatized me as a child. But I liked having my parents there to comfort me. So, the tradition became a time for me and my parents to grow closer.

Analysis

This tradition is emblematic in Venezuelan culture because of how strongly religion is tied to Venezuelan people. It merges the most important aspects of this community, dance, music, and Catholicism, into one ceremony dating way before this generation. Drawing from Bascom’s idea of folklore as a vehicle for teaching moral values and reinforcing social norms (Bascom 1965). 

This tradition uses the dramatization of the victory of good versus evil to further their religious beliefs. This is achieved with the use of a very embodied, physical performance that both evokes fear and fascination with the use of African-influenced drumming. This makes the ritual serve as a ritual of transformation and spiritual penitence. The ritual’s structure reflects Levi-Strauss’s analysis of mythic binaries, good vs. evil, sacred vs. profane, where the symbolic surrender of the devils to the Eucharist enacts a resolution of spiritual tension (Levi-Strauss 1955). For the narrator, the traumatic childhood fear of the devils’ masks and music stayed the same over time but it also allowed for a bonding experience for the family, aligning with Bruner’s view of authenticity as a personal experience within tradition (Bruner 2001). This illustrates how folklore does not merely preserve the past but actively shapes personal and collective identities, and “phantoms of romantic nationalism”, rituals that anchor a people to both nation and mythic continuity

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.