Filed under: Alfonso Lovo
As we detailed in the liner notes for Alfonso Lovo’s Numero debut, La Gigantona (“the giant lady”) is named for a Nicaraguan tradition that takes place each December through out the Central American country.
“In an annual street festival, a nine-foot wooden doll lady, representing the power and elegance of Spanish conquistadors, stands in for historical Nicaragua’s perverse affection for their exotic colonizers. The Nicaraguan commoners’ symbolic manipulation of the Gigantona effigy instills a gratifying and fulfilling sense of control awarded to a liberated populace, a tradition that, in spirit, ushered through the 20th century the people’s intellectual superiority over opportunistic subjugators who brought language, culture, tyranny, and bloodshed to Central and South America.”
Alfonso’s brother Claudio was on location in Leon, Nicaragua for this “beauty contest” between a fleet of oversized lady puppets. Each neighborhood produces a Gigantona, which are brought to the stadium to be judged on a basis of attractiveness, and the skill with which the puppeteer manipulates his or her model. Each effigy is then carried back to its neighborhood of origin, where festivities carry on into the night.
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