This expression has its origins in the funeral rites similar to the indigenous peoples, that is, in pre-Hispanic times, and also those that were performed in Spain. Its version of Tico had its first performance on August 2, 1824 to celebrate La Negrita, the patron saint of Costa Rica, in Cartago, the former capital of that country, and others put its interpretation into bullfighting festivities in the colonial period.
The masquerade extends almost throughout the national territory, and has a notable presence in the cantons most loyal to it or more closely associated with tradition, such as those that take place in the indigenous communities of Buenos Aires (Buroca), Guatuso (Maleco) and Talamanca (bribery and cars).
In the rest of the country, those in Cartago stand out, where it all began in its original colonial concept; Escazú, whose inhabitants have added important elements to its present form, and Barva, the place where it acquires economic importance.
The fact is that the youngest national symbol (the seventeenth), which was announced last April, has enjoyed a national holiday since 1996 on every October 31 and constitutes, without a doubt, one of the cultural heritage of this Central American nation.
“For most of us, this mestizo colonial tradition is part of our childhood memory, with all the astonishment, joy and fear caused by those huge dancing figures like giants or the devil, with their colorful fabrics spinning. The happy and loud sound of maroon music,” explained former Deputy Minister of Culture Lloyd Pretty’s.
“The masquerade is peanut butter and cotton candy, plus it’s a very popular festival for us, because it’s the same community that cooks and plays music or wears her mask or watches,” he added.
(taken from orb)
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