Mama Negra: the tradition passed down in Latacunga

The Mama Negra celebration begins long before the parade. Behind the characters who make their way through Latacunga’s streets are commitments to fulfill, prayers to learn, movements to rehearse and elements of the festivities to prepare. The celebration endures because its public dimension is supported by a network of community participation.

September and November: two ways of celebrating

In September, Mama Negra has a primarily religious meaning. It is linked to devotion to Our Lady of Mercy and the participation of merchants, women who prepare and sell food, and other members of the community. The area around La Merced and traditional places such as El Salto are part of this festive memory, where cooperative practices accompany expressions of faith.

In November, by contrast, its civic dimension takes precedence, tied to the commemoration of Latacunga’s independence. Municipal organization and the appointment of characters become more prominent. Although both celebrations share figures and cultural expressions, they are not identical and do not entail the same responsibilities.

There is no single historical explanation for its origins. Some traditions connect the celebration to devotion to the Virgin Mary in response to activity at Cotopaxi volcano; other interpretations examine Afro-descendant influences and the gradual formation of its cultural traditions. Ecuador’s National Institute of Cultural Heritage recognizes the celebration as part of the country’s intangible cultural heritage for its value as collective memory.

Characters that tell a story

Mama Negra is the central figure of the performance. Traditionally portrayed by a man wearing women’s clothing and distinctive ritual makeup, the character carries Baltasara, a doll that is one of her identifying elements. Her presence brings together theatricality, humor and interaction with the public, within a tradition whose symbols must be understood in their historical and cultural context.

El Capitán represents ceremonial authority; the Ángel de la Estrella recites prayers; the Rey Moro offers praises; and the Abanderado pays tribute through movements with a multicolored flag. These roles involve more than costumes: each has duties and knowledge that participants must prepare for.

The celebration includes other forms of participation: the huacos perform symbolic cleansing rituals for protection; the ashangueros carry food and festive items; and the champuseros prepare or distribute champús, a traditional corn-based drink. These figures bring ritual knowledge, physical work and gastronomy into a celebration that extends far beyond its principal characters.

Jochas: much more than an invitation

A jocha is a formal request to participate in or contribute to the celebration. It may involve families, characters, institutions and other contributors, and entails organizational or material commitments depending on the context. More than an invitation, it expresses the relationships and responsibilities required to prepare the festivities.

In September’s celebration, these relationships are linked mainly to devotion, the role of festival sponsors known as priostes, and community collaboration. In November, the jocha takes on a more pronounced public and institutional dimension, associated with the appointed characters and civic organization. The practice retains the idea of commitment, although its forms and meaning have changed over time.

A tradition learned through participation

Cultural transmission can be seen in concrete actions. The Ángel de la Estrella must know the prayers to be recited; the Abanderado practices the sequences of the performance for months. Guides and accompanying participants also fulfill responsibilities learned through involvement. In this way, accumulated experience helps sustain roles that require memory, coordination and preparation.

Clothing is part of that learning process. Embroidery, shawls, masks and crowns require knowledge of how they are made and preserved. Academic research shows that costumes convey cultural meanings and evolve over time: keeping the tradition alive does not mean repeating every detail without variation.

The city as part of the celebration

The connection with Latacunga extends beyond the parade route. The La Merced area preserves references to religious devotion; El Salto is associated with the participation of merchants and women who sell food; and the historic center brings together expressions of the civic celebration. Streets, squares and neighborhoods hold different meanings in local memory, even when they are not all part of the same route.

Music accompanies prayers, tributes and processions, while foods and drinks such as champús connect the celebration to shared culinary practices. These elements gain meaning through the people who prepare, perform and pass them on. Reducing Mama Negra to colorful costumes and moving parades would overlook much of the work that sustains it.

Between September and November, Latacunga expresses two dimensions of a tradition that continues to evolve. Its continuity depends not only on preserving recognizable characters, but on maintaining commitments, preparation and opportunities to learn. It is in this connection between ritual, community and memory that Mama Negra finds its meaning as a living celebration.