"The love
of dramatic performances was not crushed out in the natives by the
Conquest. In fact, in the Spanish countries, it was turned to
account and cultivated by the missionaries as a means of instructing their
converts in religion... It was even permitted to the more
intelligent natives to compose the text of plays. One such,
manifestly, I think, the work of a native author, in the mixed Nahuatl-Spanish
dialect of Nicaragua, I have prepared for publication. The original
was found by Dr. Berendt, and his copy, without note or
translation, came into my hands.
The play is a light comedy, and is called "The Ballet of the Güegüense or
the Macho-Raton." The characters are a wily old rascal, Güegüense, and his
two sons, the one a chip of the old block, the other a bitter commentator
on the family failings. They are brought before the Governor for entering
his province without a permit; but by bragging and promises the foxy old
man succeeds both in escaping punishment and in effecting a marriage
between his scapegrace son and the Governor's daughter. The interest is
not in the plot, which is trivial, but in the constant play on words, and
in the humor, often highly Rabelaisian, of the anything but venerable
parent." Daniel G. Brinton, 1883
'"El Güegüense' or 'Macho
Raton' is a satirical drama well known throughout Nicaragua,
which is performed each year from 17 to 27 January during
the feast of San
Sebastián*, patron saint of the city of
Diriamba in Nicaragua’s Carazo
province. El Güegüense, a synthesis of Indigenous and Spanish cultures
combining theatre, dance and music, is considered one of Latin America’s
most distinctive colonial-era expressions.
The earliest texts were probably composed in the early eighteenth
century. All together, they comprise 314 stories transmitted in Spanish,
Basque and Nahuatl, the lingua franca of many Latin American peoples. The
stories revolve around encounters between the Spanish colonial authorities
and native Americans, represented particularly by the central character,
El Güegüense, whose name derives from the Nahuatl term güegüe, a
powerful elder figure in pre-Hispanic Nicaragua. The Güegüense defends
himself against charges levelled against him by the colonial authorities
through a series of clever verbal manoeuvres. Rather than directly
confronting or challenging an authority, he attempts to appear
consistently co-operative and compliant, while utilizing subterfuge to
undermine Spanish authority.
Interspersed in street processions, the plays are generally performed
by eight main characters supported by dancers. Violins, guitars and drums
provide the musical accompaniment. Costumes, wooden masks, hats and other
attributes differentiate the various characters. For example, Güegüense
carries a whip while the Macho Raton is represented by a stylised horse
head derived from indigenous folk tradition.
The tradition is familiar to
most of Nicaragua’s predominantly Spanish-speaking population owing to the
nationwide television coverage of the annual Saint’s Day procession."
UNESCO.
The Director-General of UNESCO,
Koïchiro Matsuura, proclaimed El Güegüense a Masterpiece of the Oral
and Intangible of Humanity at a special ceremony in Paris, France,
on 25 November 2005. El Güegüense represents outstanding value as
masterpiece of the human creative genius testifying to the world's
cultural diversity and richness. El Güegüense has its roots in the
cultural tradition and cultural history of Nicaragua.
The Government of the President of
the Republic of Nicaragua, His Excellency Mr. Enrique Bolaños,
expressed its satisfaction for the Director General of UNESCO’s
visit to Nicaragua in February 2006, his permanent and firm
commitment with Nicaragua in the different projects for cooperation
in the cultural, educational and scientific fields, which contribute
to preserving and consolidating the cultural identity of the
Nicaraguan people.
Last February, the
Director General of the United Nations Organization for Education,
Science and Culture (UNESCO), Mr. Koichiro Matsuura, visited the
Republic of Nicaragua for two days.
*
Diriamba’s
festival of San Sebastian is known throughout Nicaragua, especially for its
street dance-theatre performances: El Güegüense, El Toro Huaco, and El
Gigante (David and Goliath). The traditional tope marks the formal
beginning of the festival. San Sebastian is taken to the
village of Dolores, where he is met by the patron saints of the nearby towns
of San Marcos and Jinotepe. This tope constitutes a ritual invitation to
Diriamba’s neighbors. When Santiago’s (Jinotepe) and San Marcos’ festivals
approach, their mayordomias also stage a tope, inviting San Sebastian (and
Diriambans) to attend.
'"El Güegüense' or 'Macho
Raton' is a satirical drama well known throughout Nicaragua,
which is performed each year from 17 to 27 January during
