a l a c x a l T r u t c e S f o y s e t r u o c e r a s o t o h p l l A

Carnival Fiestas in

arnival is one of the state of Tlaxcala’s callan. At that time mask s were used to frighten most attractive, traditional fiestas, both be - away evil spirits. Ccause of its origins and because each year With the arrival of the Spaniards and the so-called it brings together folk artists who dedicate their Hispanic-Tlaxcaltec alliance, both the meaning and efforts to preserving a centuries-old tradition. the concrete manifestations of these celebrations As a festival of relaxation and escape in the ancient changed, with the spread of Christianity playing a Greek and Roman tradition, the celebration of car- central role. The Franciscans, the predominant order nival was unknown in pre-Hispanic . Like in in the state, repudiated the traditional fiestas and most of Mesoamerica, the ancient inhabitants of ceremonial dances dedicated to Camaxtli, which Tlaxcala performed ceremonial, religious dances to were gradually lost. honor their gods. Particularly noteworthy were those It is said that the way carnival is celebrated today celebrated in the Ocotelulco fief, at the temple ded - is rooted in rebellion and sarcasm. The hacienda icated to the god Camaxtli, the main deity of Tlax- system began to be imposed in the state in the sev -

88 Los Charros headdresses, a display of color.

Tlaxcala ’s carnival fiestas include different kinds of celebrations, but it is the dances from more than 50 towns that are the most attractive and popular.

enteenth century. Hacienda owners, Spaniards who The meaning, costumes and masks also changed so missed Europe’s life of luxury and splendor, orga nized that each region took on its own characteristic touch. sumptuous fiestas and dances to which they, of course, did not invite their peons or indigenous servants. In response, the poor went into the streets and plazas A C ENTURIES -O LD TRADITION extravagantly dressed, covering their faces with white - skinned, blue-eyed masks and danced with strange Today, Tlaxcala’s carnival fiestas include different movements, sarcastically imitating their landlords. kinds of celebrations, but it is the more than 50 Despite the anger of the hacienda owners, who asked towns’ dances that are the most attractive and pop - the governor to prohibit these celebrations, the pop - ular. Carnival is celebrated on the Sunday, Monday ular dances and their mockery continued. With time, and Tuesday before Ash Wednesday. To open the music was added, interpreted on folk instruments, way for joy, the Friday before there is a ceremony and each town developed its own distinctive dances. to burn “the Bad Mood,” which consists of setting

89 Voices of Mexico • 61

Los Catrines ’ customs are the finest and most enigmatic. The Las Cintas dance is one of the most colorful.

fire to a paper figure and the “coffin of Los Chivarrudos (The Rough Goats), Los The dancers, or huehues , sadness, rancor and anger.” Catrines (The Swells), Las Cuadrillas are the fiesta ’s main Voluntary labor —part of the pre- (The Quadrille), Las Cintas (The Rib- participants. Thanks to these Hispanic community organizational bons), La Danza de los Cuchillos (The folk artists, the tradition tradition that survives in many places Dance of the Knives) and the play The in Mexico— before the fiesta is fun - Kidnapping of the Magistrate’s Daughter .1 has not died out. damental: men, women and children The dances can be veritable plays participate in organizing, raising money distinguished by their region of origin, house to house f or the music, embroi - their meaning and the costumes and dering costumes, putting on rehearsals , masks of the participating hue hues . For choosing who will be in charge of serv - example, the dance of the snake inter - ing mole and tamales to the dancers preted by Los Charros , has its origin and the general public, etc. in the legend of a beautiful, frivolous The dancers, or huehues , are the fies - woman who sparks the pas sions of the ta’s main participants. Thanks to these region’s young men. The people then folk artists, the tradition has not died pray to the gods to free them from her, out. The huehues , organized in groups and the gods, hearing their plea, make of 20 to 40, form a band; each band is the maid en disap pear amid thunder and given a specific name in accordance with smoke; but when the air clears, in her the region, costume and the dances they place is a disgusting snake that torments perform. local inhabitants. The only way to ap- The most representative performan - pease it is a dance that uses long whips ces and costumes of the state of Tlax- imitating the reptile’s movements. Los Different phases of mask making. cala are Los Charros (The Horsemen), Catrines is a reminder of the sarcastic

90 The Splendor of Mexico

Ocotoxco huehue dancer. Huehue couple. Charro horseman’s mask from Papalotla, Tlaxcala.

name used for the aristocrats who own- tent, continues to be a factor of com - ed most of the land. Their costumes munity cohesion and pride. The dances can be and masks are the finest and most distinguished by their region enigmatic. Las Cintas is spectacularly NOTE of origin, their meaning and colorful: the huehues , a dorned with ker - 1 The dances are performed in the following the costumes and masks chiefs, serapes and mul ticolored hats, towns: Los Charros in San Francisco Papalotla, San Cosme Mazatecochco, Santa María Acui- of the participating huehues . dance around a post fes tooned with as tlapilco, and San Fran- many ribbons as there are members of cisco ; Los Chivarrudos in Santa Inés the band. Zacatelco; Los Catrines in San Bernardino and San Miguel Contla, San Bernabé Amaxac de The Las Cuadrillas dancers from San Guerrero, San Nicolás and Santa Cruz Dionisio are particular - Tlaxcala; Las Cuadrillas in San Pablo Apetati- tlán, Santa Anita Huiloac, San Antonio Cuaxo- ly outstanding because of the number mulco, Santa María Atlihuetzía, San Dionisio of huehues , their magnificent costumes Yauhquemecan and San Salvador Tzompan- tepec; Las Cintas in San Juan and Santa and their fine, multicolored masks. María Tocatlán; La Danza de los Cuchillos in Women do not participate in the Los Toluca de Guadalupe and San Nicolás Terre- nate; and the play, The Kidnapping of the Mag - Cuchillos dance, and so the men add istrate’s Daughter , in Santa María . braids to their headdresses to play the women’s parts, and their costumes are SOURCES different from the rest of the bands in Dirección de Promoción de la Secretaría de Tu - rismo del Estado de Tlaxcala, “Carnaval” (Tlax- Tlaxcala. cala, Mexico: Secretaría de T urismo del Estado The most surprising thing is that de Tlaxcala, 2002). the passing of the centuries has not “Carnaval en Tlaxcala, la versión indígena de buried a tradition that, despite having las fiestas paganas en Europa,” Tlaxcala Tourism Ministry website, http://www. tlaxcala.gob.mx/ lost much of its social and critical con - turismo/Tradicional/carnaval.htm Painting a mask.

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