Showing posts with label fiesta. Show all posts
Showing posts with label fiesta. Show all posts

Wednesday, March 12, 2008

The Rio Caura: Yekuana, Yarake and Yellow Clay


A trip up the Caura River in Venezuela's Bolivar State to the thundering majesty of Para Falls is everything you could want from a jungle adventure and more.

So what could be better than stumbling across a Yekuana Indian fiesta in full swing and being invited to try the local homebrew? That's what happened to Russell Maddicks, who enjoyed an unforgettable night with his new-found chug-buddies in the Yekuana village of Nichare.


Yekuana, Yarake and Yellow Clay

By Russell Maddicks

After an eventful first night on the Caura River that included an encounter with a massive tarantula, some noisy howler monkeys and a delicious feast of roast chicken, our second day brought us to the small Yekuana village of Nichare, home to some 90 people from seven families.

There were ten of us on the trip, seven foreign tourists, myself, the boatman and our guide, Juan Carlos Ramirez of Akanan Tours.

My first impression of Nichare was of a neat collection of picture-postcard huts with mud walls and palm-thatched roofs. The village was reached by a steep slope of yellow clay that led from the river bank.

As we got closer, a group of kids appeared and showed off by diving into the river and clowning about, sliding down the slippery river bank into the water and then swimming up to our bongo - a traditional dugout canoe carved from a single tree trunk.

These kids didn't beg for sweets or biros they just smiled and ran about excitedly as we gingerly made our way up the bank.

As we entered the village it was good to see there was no litter. Everybody was barefoot, the men wearing a pair of shorts, women in a skirt and T-shirt.

Unlike indigenous communities in other parts of Venezuela, there was no sense of poverty here, just a seemingly comfortable co-existence with the jungle and the river.

But Nichare is a place of contradictions. Only four hours boat ride from the road at Las Trincheras it is the closest Yekuana village to "civilization," and hence straddles the border between two worlds: the more traditional Yekuana villages above the Para Falls, and the criollo world to the North.

The villagers have been sending their children to study High School in Maripa or Ciudad Bolivar for years, and it has brought major changes, some good and some bad.

Purists lament the fact that traditional dress is now only worn on special occasions - the few times of the year when the bamboo flutes and monkey-skin drums are dusted off and the sounds of old chants and songs once more fill the forest.

They might also complain about the loss of traditional healing practices to modern medicine, epitomized by the rather ugly breeze block dispensary.

Even the baskets and wood carvings for which the Yekuana of Nichare are famous have changed over the years, affected by the tastes of big-city buyers who order in bulk, favouring the number of animals on a basket, over tradition and authenticity.

But the villagers seem unfazed by all the fuss about their vanishing traditions and seem to have adapted to the encroachment of the world outside without losing their sense of cultural identity or pride.

They still speak Yekuana among themselves. They give their children Yekuana names, although they are rarely divulged to outsiders. They hunt with blowpipes and fish with barbasco, a plant toxin that suffocates the fish and brings them to the surface. They also make the best curiaras in the country, justifying the name "Yekuana", which roughly translates as "canoe people."

More importantly, and perhaps the key to their survival, they show no signs of the inferiority complex that afflicts many other tribal groups, and seem to have been able to take from Western Society only what they need, like medicines and power generators, and leave what they don't.

Party People Love the New Yuca

At first it looked as if we wouldn't be able to stay because the village was celebrating a three-day festival, "not for New year," as the village headman German Rodriguez explained, "but for the new yuca," the root vegetable that provides the Yekuana with most of their sustenance.

But eventually room was found for us to hang our hammocks in the huts Rodriguez uses as a kitchen and workshop.

As night fell the celebration kicked off in the palm-thatched roundhouse at the centre of the village and the sounds of merriment drifted over to where my fellow travellers were bedding down for the night.

Curious, I strolled over to investigate and found young couples shuffling back and forth to a merengue beat that crackled unevenly from two speakers. The sound system was hooked up by a few bare wires to a car battery that also powered the single bulb that lit the scene.

Most of the young men were standing around drinking out of round gourds. The girls, adorned with strings of blue and white beads tied tightly above the ankle and below the knee, walked through the crowd refilling the men's gourds with something that looked suspiciously like watery porridge.

No sooner had I entered the hut when a smiling face pushed a brimming gourd into my hand and told me in Spanish to drink:

"Cerveza indigena. Muy buena!" my new friend said, nudging his mates to make sure they caught my reaction to the local brew.

This was the "new yuca," which had been grated, mashed and left to ferment to make the Yekuana drink called "yarake".

It was a strange taste for somebody used to Stella, Fosters and Polar Ice and it didn't help that my new Yekuana chug-buddies were miming a chewing and spitting action to explain how it was made.

But when in Nichare do as the Yekuana do is my motto, so down the hatch went the yarake, much to the amusement of my new friends.

Copious amounts were being consumed and it wasn't long before a sweet smell of spoilt fruit started to pervade the hot, crowded room.

As the night wore on the party got surreal. The merengue music was playing at a third normal speed because the car battery wasn't powerful enough and the shuffling rhythm of the dancers feet was so loud it became hypnotic.

Except for the girls who silently refilled every gourd as it was emptied, everybody was either shuffling or drinking, or shaking my hand, or slapping my back, or stepping outside to make room for more yarake.

It was at this point that the festivity took on an indigenous life of its own, (and maintained it for three days).

The trappings, like the clothes and the music, were no different from any other bash held down river in the criollo villages of Trincheras, or Maripa, but the monotonous shuffling of those feet, the feeling of community that filled the high-ceilinged roundhouse, the slow-building effect of the yarake was definitely Yekuana.

Stepping out of the sweatbox of the hut and into a cold jungle mist it became immediately clear that the yarake was not as weak as I had thought. My head was spinning and for some reason I thought a refreshing dip in the river would put me right.

Wrong.

Vaguely remembering Juan Carlos' advice that we should shuffle into the dark waters of the river to warn the electric eels and stingrays we were coming, I decided it would be best to take a running dive straight in.

In normal circumstances that would have been no problem, but I was barefoot on wet clay, a little unsteady on my feet and my judgement of distance was less than perfect.

Somehow, before I even got to the edge of the bank I was on my back, moving at speed towards the water in an exhilarating yet somewhat scary bobsled position that propelled me into the river with a mighty splash.

On the positive side, I was immediately refreshed. The water was warmer than I expected and because of all the tannins had a silky feel on the skin that was not unpleasant.

However, I had not reckoned on the difficulties of getting out of the river and it was only after what seemed like an hour of failed attempts to get my wet self up that slippery slope that I finally managed to stagger back to the village, past the party hut, still throbbing with life, and collapse into my hammock.

The next day I woke up in classic big-night-out style. Dry mouth, temporary amnesia over the events of the night before and complete confusion as to why my fellow travellers, who had chosen to pass on the Yekuana fiesta, burst into giggles every time they asked how I was.

But worst of all I could not understand why I was completely covered from head to foot in a dry yellow crust, or why the cacique kept giving me the thumbs up and with a toothy grin offering me "mas cerveza indigena."

Trip photos: On the Caura River to El Playon

Wednesday, January 30, 2008

How the Yare Devils Got Their Red Threads


1948 – The Year of the Dancing Devil

In December 1947, in a landslide victory, novelist Romulo Gallegos became Venezuela’s first democratically-elected president. To celebrate his inauguration in February 1948, poet Juan Liscano came up with the idea of a mounting an ambitious spectacle in Caracas that would bring together the most important folk traditions in the country.

The two-hour show, held in the Nuevo Circo bullring in the centre of Caracas, was called "A Festival of Tradition: Songs and Dances of Venezuela."

More than 500 dancers, singers and musicians were brought to the capital by plane, bus, boat and mule.

For the first time, Guajiro Indians from the deserts of Zulia State were to perform their sacred dances alongside Afro-Venezuelan drummers from the Caribbean coast.

And there was more: foot-stomping Joropos from the Llanos, Chimbangueles in honour of the black saint San Benito, and the Dancing Devils of San Francisco de Yare.

The Red Devils

At first Liscano couldn’t get the Devils of Yare to attend: "I convinced them with the argument that we were doing this festival to show the foreigners that were coming that the Devils of San Francisco de Yare knew how to dance, something which they doubted."

More significantly, Education Minister Luis Beltran Pietro Figueroa, sent yards of red material so that the Devils could make new costumes for the event.

So this was the first time in their history that the Yare Devils were all dressed in red. Before that, the arreadores (in charge of keeping order) and the cajeros (drummers) would have worn white suits and the other devils would have made do with bright outfits made from colourful patches taken from old clothes.

But it wasn’t going to be easy for Liscano to get the Devils to perform.

Two days by mule

Nowadays it takes just over an hour to drive the 78 km from Caracas to Yare but for the 35 members of Yare's Devil Dancing Society who made the trip in 1948 it took two days by mule. This was the first time any of them had been away from home and when they arrived some of them had second thoughts.

The Devils had only ever danced on the Feast of Corpus Christi and were wary of performing without the usual preparations: attending mass and having their masks blessed by the local priest.

To convince them Liscano had to arrange for them to attend a morning mass every day they were expected to rehearse and performing. But he forgot to get permission from the mayor’s office.

The members of the cofradia went to their first mass in Caracas in a church in El Valle, and they came dressed for Corpus Christi in their full devil-dancing regalia. As the priest held aloft the Holy Sacrament they took their cue and began a frenetic dance in the entrance of the church.

The noise of the drums and maracas was so loud that it brought the local police, who promptly arrested the Devils for disturbing the peace and wearing masks outside of Carnival. Fortunately, they were soon released.

They do like to be beside the seaside

The Devils had another request for Liscano: "…one day they came to tell me of their greatest desire: to see the sea before returning to their home town."

It’s hard to understand the isolation of small towns like Yare back in 1948, but none of the Devils' had ever seen the sea before, and their bus trip to Macuto, on the central coast, was a revelation.

Liscano writes in his book Sacred Fires: "… when they discovered that great blue stain, under a wide, cloudless sky, they were seized with a kind of ecstasy, a profound feeling of respect for majestic Mother Nature who had made such beautiful things."

"… they entered the water in silence, in a state of reverie, and some of them plunged their hands into the water in a sort of ritual gesture."

The end of the festival, the start of their fame

The Festival of Tradition was a huge success. So many people turned up on the opening night that it had to be extended for four more nights. In total 25,000 people watched the show.

It was an event the like of which Venezuela had never seen and was never to see again.

The party was soon over for Romulo Gallegos too, on 24 November 1948 he was ousted in a military coup and forced into exile for the next ten years.

For the Dancing Devils of Yare, however, it was just the beginning. Soon, the annual Corpus Christi celebrations in Yare would become one more attraction for tourists to visit, like the mountains of Merida, the spectacular Angel Falls and the blue Caribbean waters that had so captivated the Devils.

By Russell Maddicks

Click here for an article on the Dancing Devils of Yare in literature

Click here for a video of the Dancing Devils in the cacao plantation of Chuao

Tuesday, August 7, 2007

Choroni: Beach town moves to the beat of Afro-Venezuelan drums


Angel falls, the world’s highest waterfall, might be Venezuela’s most talked about tourist attraction, but the best party you’ll ever have is in the small fishing village of Choroni. The place just throbs with music, from the salsa and reggaeton played in the small beach bars to the thumping drums that set the place alight at night. Russell Maddicks enjoyed a rum-soaked night of tambores on Venezuela’s central coast.

With its beautiful crescent beach backed by palms and its sea-wall, or malecon, where you can sit and watch the pelicans diving for fish, Choroni is the place to kick back and get to know Afro-Caribbean Venezuela.

We knew we’d come to the right place as soon as we stepped down, rather unsteadily, from the bus. Choroni, also known as Puerto Colombia, is a fishing village on Venezuela’s central coast famed for its drum dancing, or tambores.

In colonial times this was a large slave plantation and its geographical isolation has helped to preserve important elements of Afro-Venezuelan culture.

The biggest adventure is getting here. It’s about four hours by bus from the capital city of Caracas to Choroni and the road that winds up from the city of Maracay into the cool cloud forest of the Henri Pittier National Park is not for the faint-hearted.


The road was built in the 1930s by the dictator Juan Vicente Gomez as an escape route to the sea but nowadays it’s main use is to bring in the excited crew of sunseekers, surf kids and foreign tourists who flock here on Fridays.

The hairpin bends are truly hair-raising and the driver is either very expert or has entrusted our lives to the luminous Virgin Mary stuck to the dashboard. While I say a little prayer, he blithely swings the bus round the bends in time to the salsa erotica blaring out of the speakers. Far from being worried by the breakneck pace, my fellow passengers seem happy to sing along.

The biggest excitement comes just as we pass the highest point, some 1,800 metres above sea level, when the bus screeches to a sudden, shuddering halt. Everybody gets off to see what’s happened only to find a three-toed sloth in the middle of the road with a little baby sloth on its back. It’s a miracle we didn’t hit it. Perhaps the Virgin is looking down on us after all.

Our first stop is at the cute, colonial town of Choroni, set back from the sea as protection from the marauding English pirates that once scoured these coasts for booty. A few kilometers more bring us to Puerto Colombia, right on the sea.


It might be early, but music is everywhere. A small stall selling juices is playing reggae, the liquor store is blasting out 80s salsa and there’s a reggaeton fiesta going on at the empanada place where the fishermen are hanging out, drinking beers. There’s a definite Afro-vibe here that is unlike the rest of Venezuela.

After a wash and brush up at the cheap and cheerful Posada de los Guanches (less than 10 dollars a night) we set out to explore. It's a five minute walk to the palm-fringed beach, which is framed by high bluffs. The sea is warm and frisky, perfect for body surfing, but with an undertow in some places that is best avoided.


The first friend we make is Palomino, a former life guard who now sells "guarapita" - a sweet-tasting cocktail of passion fruit, cane alcohol and sugar. Palomino also has a less traditional "chocopita", made from cocoa powder, that goes down surprisingly easy. In fact, swinging in the hammock under a palm tree, sipping guarapita and watching the waves lap the sand, its easy to see why everybody seems so laid back.

A kid comes past with a bucket on his head. He's selling a dodgy-looking seafood aphrodisiac called "Siete Potencias", or "Seven Powers". It "brings you back to life", he says with a grin. In case we miss the point he says it’s also called "Rompe Colchon", or "Bed Breaker".


That night, after a glorious supper of red snapper and fried plantains we head down to the malecon, the sea wall promenade, to catch the dancing.

There’s no definite start time. As soon as enough people gather and enough guarapita has been consumed it just kicks off.

A couple of kids drag out two large cumaco drums and place them under the statue of Saint John the Baptist. "He's the saint of the blacks, our saint" explains Palomino, who has set up stall on the other side of the statue.


Made from a hollowed out avocado trunk, the cumaco is almost two metres long. The leather head is played with the hands by a drummer sitting astride the trunk while another one beats out a fast rhythm on the sides with two sticks called palillos or laures.

As soon as the first furious beats break out a couple starts to dance and a circle forms around them. This is what we came for and it doesn’t disappoint.

Supremely athletic men, dripping with sweat from the exertion, hips moving like a washing machine on fast spin, try to get as close as humanly possible to the woman gyrating in front of them.


At any time another dancer, man or woman, can cut in by moving between the two dancers and separating them, so the energy never flags.
The crowd eggs them on, clapping and cheering the best dancers and laughing at those with no clue (me I’m afraid).

Do this in your local high street and somebody would call the police.

Meanwhile a cantor, or singer, steps forward to lead the call-and-response vocals.


The song is drowned out by the drums – even louder now with the arrival of three congas – but everybody joins in with the simple chorus of "dale" ("do it"), and for while we are all as one.

About four hours later the drums come to a staggering halt as the booze runs out. As they have a whip-round for more rum, we walk to the beach for an exhilarating moonlight dip, the drums a distant echo of an unforgettable night.

By Russell Maddicks


Video: Dancing tambores in Choroni
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