The carnival in Santiago differs from all others in that it doesn't happen
at carnival time (i.e. the days preceding lent) and also it isn't really
called 'carnival' at all.
Properly called the 'Fiesta de mamarrachos' or 'Fiesta de mascaras'(the
name 'carnival was attached during the 20th century for commercial reasons),
the festivities take place during the days surrounding the saint day of
Santiago Apostol (patron saint of the conquistadores) on 25th July. Santa
cristina (24th July) and Santa Ana (26th july) give good reason for the
celebrations to continue.
The 'carnaval' first saw light at the end of the 17th century as a parade
for Santiago Apostol, and scholars have traced the form of the current
carnaval parades directly from the religious parades of this time. The
first mention in print of the carnaval is in 1679 where prizes are announced
for the comparsas, which incidently could only incorporate black people
if they had been freed from slavery. This was the first of a long list
of rules, regulations and bans which tried right up to the 1950's to control
this event and especially prevent black men and women from celebrating
their culture openly on the streets of the city.
Nowadays, the celebrations begin with the annual 'Festival del Fuego',
an arts festival which each year focuses on a country of the caribbean
or latin America, inviting artists, live bands, writers, dance groups
and carnival bands to the city for a 2 week festival, culminating in a
parade, giving the congas a chance to flex their muscles before the days
of carnival.
The groups that parade during the carnival are the Comparsas de Conga,
Paseos, Cabildos, and the Tumba Francesa along with the children's groups
attached to these during the carnaval Infantil.
Amongst the most famous congas (a conga becomes a comparsa when it accompanies
large numbers of choreographed and costumed dancers) are the rootsy Los
Hoyos, who developed out of the cabildo known as 'Cocoye'; The stylish
San Agustin with their master corneta china player walfrido; Paso Franco
with their distinctive bass drum rhythms; san pedrito from the tough barrio
of the same name and El Guayabito who have developed into one of the best
of all. The comparsas include amongst their costumes the 'capas', elaborately
decorated capes that are distinctively santiagueran. The percussion section
consists of 20 or so 'bocuses', conical conga drums; the smaller 'quinto'
which improvises around the bocue rhythms; bass drums called 'galletas',
which provide the earth shaking foundation; a tenor drum to remind us
of the mix of religious and military roots;bells made from old brake drums
which chime like rainfall; and the 'corneta china', an instrument from
china which came to Santiago in about 1914 and cuts through the massed
crowds with call-and-response tumes. The whole effect resembles a great
thunderstorm passing by and if you are caught up in the conga, you can
only arrolar y gozar. Before the days of parade, each conga pushes its
luck with the 'invasion' where they 'visit' other barrios and attempt
to sweep along the neighbours with thir conga. Los Hoyos are past masters
at this and invariably are seen as the 'people's champion'.
The paseos are essentially funky horn sections with added percussion (as
described fully in 'What is a paseo') , playing current fave tunes as
well as their own classics., one of the earliest being La kimona who were
founded in 1937.
The cabildos, such as the Carabali Izuama and the Carabali Olugo originate
from organisations formed for mutual support and cultural celebration
in Seville during the 14th century by freed slaves and which continued
to perform this role right up to the 20th century. Nowadays they are an
important p[art of the city's cultural heritage and take their place at
the heart of the parade with their King, queen, pages etc, moving in a
stately fashion to a rolling 6/8 rhythm.
The Tumba Francesa has its roots in the coffee plantations which arrived
in the hills surrounding the city following the revolution in Haiti. The
rhythms and dances were preserved by the enslaved workers and are now
one of the most stirring and complex of all styles to be heard during
the parade, reminiscent of the rara and gaga heard in Haiti.
As if this wasn't enough, the days and nights of carnaval play host to
free stages with non-stop performances by name bands, sound systems and
kiosks lining the famous Trocha avenue , belting out Merengue and selling
drinks, ice pops and coconut ice, carnaval on the beach and buckets and
buckets of beer filled at local standpipes.
The Fiesta de Mamarrachos has persisted for more than 300 years and is
currently at a high point, with the paseos and comparsas showing a wonderful
display of energy, invention, rhythm, colour, wit and joy in participation
better than has been seen for many years.
The carnaval in Santiago de cuba fully deserves its reputation of one
of the world's great street celebrations; and the beauty is you don't
have to miss Rio, Salvador or Trinidad in order to be there!
