The word folklore was born in the 17th century, by a man dedicated to saving old

things. One day it occurred to him that there was a word for everything that people
transmitted through time, and he combined two words: FOLK. : people and LORE :
wisdom; Folklore is the wisdom or knowledge of a people. We must clarify that this
knowledge is an oral, traditional form, from one generation to another.

Now, not every tradition is folkloric but only one that meets certain fundamental
characteristics:

 That it is Anonymous, that is, that its creator is unknown, no one knows who
made it.
 That it is not Institutionalized, that is, you do not need to go to school to learn
it.
 That it is functional, this means that it meets a need.
 His Elderly, that is, his Antiquity, which cannot be specified as to his age.
 By fulfilling these characteristics, folklore can be found in four stages:
o Nascent , that is, beginning to live.
o Alive , at its peak.
o Decay , that is, of little use.
o Dead , here it comes to be called history.
 After these characteristics, we see that folklore is very broad and therefore
includes six different branches:
o Narrative Folklore : fables, stories, legends, jokes, etc.
o Poetic Folklore : Which includes romances, songs, sayings, couplets,
riddles, sayings, etc.
o Magical Folklore : The spiritual, superstitions, and magic itself.
o Social Folklore : Dances, customs, games, gatherings, social
activities, family, etc.
o Linguistic Folklore : Aphorisms, proclamations, deformations of
language.
o Ergological Folklore : All material aspects, work utensils,
implements, popular art, pottery, popular art painting. In addition to
studying the collection of drinks, meals, stews, etc.

We see how the jar, to go to the river, the bull, are folkloric aspects that add to the
essential characteristics; You may find that the study you do has some doubts or
exceptions; Perhaps something typical, it is that which represents the living stage of
something, seen imprecisely may confuse you.

In countries like ours, the above is not enough for us, since the folkloric phenomenon
is present in all social stages, from the highest hierarchies to the lowest groups;
Therefore, it is a phenomenon of a collective nature, socially differentiated, and that
involves all the daily circumstances of man's life.

Thus, Costa Rica has a great abundance of folklore materials, unfortunately only a
small part of them is known and very few people have tried to recover this valuable
culture.

COSTA RICAN FOLKLORE

Folklore covers all the manifestations of daily life, their way of dressing,
speaking, dancing, their songs, sayings , trades, superstitions and other
typical reflections of the people. Knowledge of folklore and traditions
allows us to know the roots of our ancestors, of the national. "Folklore
should be considered an element of great importance within the national
identity, since it allows different peoples to be identified, therefore to the
extent that they identify themselves as a people, their nationality is
strengthened and they are committed to the destiny of Costa Rica.
Because Costa Rica is a very small country, there are few customs that
could be identified as typical of a province, however our beloved province
of Guanacasteca has its own history that is based on the pre-Columbian
roots of Mesoamerica. A large number of the typical or folklore songs that
are performed in Costa Rica come from the Guanacasteca region, such as
Punto Guanacasteco, El Torito, Pasión, Amor de Estación, Pampa, El
Caballito Nicoyano and many others.
Closely related to the composition of songs, the inhabitants of the Nicoya
District have made many musical instruments, some of them of
indigenous invention such as: drums, jaques quijongos, ocarinas,
chirimias, whistles, (from animal bones) others copied such as the guitar
and the marimba, but which have been perfected in an extraordinary way
in the region. Invention of bombs : In the region of the old Nicoya Party
and in the rest of the province of Guanacaste, the birth of cheerful bombs
has taken place that liven up the festivities in most Costa Rican towns,
some of them are the following:
I would like to be a shoe
to kiss your pretty foot,
and look from time to time
what the little shoe sees.

If your boyfriend despises you

don't want it again
because trash that is thrown away
It is not collected again.
Normally in our towns or cities, patron saint festivals or shifts are
celebrated, where topes, horse fights, bull riding, bullfights, food sales,
carnivals and masquerades are held, the queen of the celebration (tica
linda) is chosen, in San José experiences this custom every end of the
year with the well-known "Zapote Festivals", these being one of the most
recent customs that brighten our country in general. Most Costa Rican
traditions are closely linked to religion, hence the celebration of the
Patron Saints of each town, the celebration of Holy Week, August 2 "Día
de la Virgen de los Angeles" where the majority of Costa Ricans go on a
pilgrimage to Cartago. Along with the religious spirit goes the cultural
tradition with the preparation of special foods, such as chiverre honey,
roasted tamale, rice pudding, chiverre empanadas, coconut candy,
different pickles, among the traditional dishes we find the gallo pinto,
arracache picadillo, chorreadas and more from the modern era rice with
chicken. The legends that many of them are based on a real, historical or
anecdotal event, in which the popular imagination adds a wonderful or
fanciful interpretation, and thus legends are born, and among the most
Well-known are: La Llorona, El Cadejos, La Segua. The Wagon Without
Oxen.
In Costa Rica it is also customary to use proverbs and they are part of our
folklore, among them we give examples: • He who walks with wolves
learns to howl.
• He who lends, stays when he asks.
• He who leans close to a good tree receives good shade.
• Jack of all trades, master of none.
• Out of sight, out of mind.
• If you search you will find.
• Loose lips sink ships.
• From saying to doing, there is a long way.

Our Dances

LA CAJETA: Traditional

It represents the story of the poor peasant girl from Guanacaste, who is sent by her mother to
sell homemade products, such as cajetas, rosquillas, tanelas, rice pudding, atolillo, pozol, etc.,
with a round wooden batter and its liumpión. white, embroidered with bright colors. As she walks
she stumbles upon exploitative men who make her fall in love and who try to touch her as they
pass by.

At first she manages to avoid stalking, but finally, as a woman, she falls into the arms of a lover.

DIABLO CHINGO: Traditional

More than a dance, it is a theatrical representation of a popular legend. The main character is a
bull with a short tail, which they call “Diablo Chingo”.
According to legend in Guanacaste, this short-tailed bull scared people at night, hiding in the
darkness because the bull was black; He skillfully gored people who passed by on one of the
streets of the town, making its inhabitants believe that he was the devil in the form of a bull.

As there were already many victims, all the neighbors decided to discover the enigma and went in
search, finding it, they fought it all night until the animal fell out of breath and exhausted.

Without a doubt this descriptive dance is inspired by the “Fiesta Brava”, a cultural element of
great tradition in the region and introduced by the Spanish.
SEASONAL LOVE: Héctor Zúñiga

It is a passionate remembrance, a memory of a frustrated love, that left us one summer night...
there on the beaches of Coco. The inspiration of the musician and composer Héctor Zúñiga is
revived in a choreography full of tenderness when the notes make you dance in seasonal love.

PARTY IN THE VILLA: Henry Porras

In Villa Quesada, San Carlos, the traditional festivals of the northern towns are celebrated. In this
case, the leading man does not want to take his partner to the celebrations; He leaves and gets
drunk. The lady, in anger, looks for him, hurt, to complain why he did not participate in the feast.
The man tries to please her in one way and another, until in the end, after a “tug” on the ears, she
forgives him with a kiss.

CUTE TICAS: Mario Chacón

Dedicated to the Costa Rican women of each of the seven provinces, it is a respectful tribute of
admiration and sympathy to our women who also contribute to the aggrandizement of the
Homeland, in its lyrics the outstanding characteristics of her are outlined. Generally
choreographies have been created only for ladies.

TICO SOY ME: Rodrigo “Chino” Piedra

Piece of our beloved “Chino” Stone. It is inspired by the tranquility, love and fraternity that reigns
in our country compared to our Central American brothers. It is aimed at all Ticos and is for them,
it has no distinction of race, religious or political belief.

THIS IS MY LAND: Mario Chacón

Original composition by Mario Chacón. It is a beautiful little piece whose choreography is inspired
by the work of the peasants of the Central Valley, their hopes and their hardships, their life that,
despite being hard, has its moments of peace and rest alongside their own. It is the
representation of the work of “chapeo”, of cleaning the land where weeds and bushes are cut, a
typical representation of the work of the man in the fields of our land.

Legends and Traditions

Tapaligui

As soon as Nambí fell, Miri hurried to the beach,

where he would meet Tapaligui, son of the chief
The rich town of Nicoya was preparing to of Chira, a warrior whose bravery and
celebrate one of its great traditional festivals extraordinary strength had earned him great
on the afternoon of that day. The large plaza
fame among the people and his name was
that faced the temple of the sun showed off
respected and feared.
its great majesty. Tapaligui reaffirmed his love for Miri and
revealed his intention to attack Nicoya to kidnap
Two hours before sunset the chief Nambí her on the day of the great festival of the sun.
arrived, followed by a large number of
nobles, courtiers and warriors. The processionWhen the big day arrived, the crowd waited
solemnly advanced towards the temple in impatiently for the immolation of the first
front of which numerous benches were victim. A prolonged rumor announced the
arranged on which Nambí and his people sat, arrival of Nambí and his court. During the
because only commoners were to take part in celebration, Nambí did not leave Miri who
the dances that day. The men divided into impatiently awaited the arrival of Tapaligui and
two lines and placed one facing the other, thehis warriors. Suddenly, Nambí pounced on Miri
drums sounded and they began to dance and who rejected him and ridiculed him before the
sing. people. The chief, in a fit of anger, sentenced
her to death; Miri
Soon many women appeared carrying vessels It was taken to the sacrificial stone where the
full of very strong corn chicha. Another priest soon sacrificed it, then tore out the heart
smaller group, made up of the most beautiful and, raising it above his head, offered it to the
maidens of Nicoya, headed towards where sun. At this moment an arrow whistled and the
the chief and the nobles who accompanied executioner fell to the ground; Tapaligui made
him were. In front of the others came a his appearance and after looking at the body of
beautiful girl whose name was Miri. his beloved, he rushed towards Nambí, where
after a fierce fight he killed him. At the same
Everyone was enchanted to see her come time the warriors began to fight, when suddenly
forward while Nambi did not take his eyes off a thunderclap tore the atmosphere. There in the
her. sea, swaying gently on the waters, was a ship;
On its stern the banner of Castile fluttered and
the mouth of a cannon still smoked from one of
Night came and the drunkenness was
its bands. Thick clouds covered the sky and
general, soon only Nambí was left standing,
extinguished its brightness.
who was a heavy drinker, as well as corrupt
and had bad habits so he lived up to his
name, which in the Chorotega language The cult of the sun was dead. The story of a
means "dog." Miri went towards him and new stage began.
offered him her jug, Nambi in turn tried to
hug her, but she rejected him with anger,
until Nambi succumbed, overcome by
drunkenness.

The Yeguita

Origin of the legend: In Nicoya the legend is told

that at the time of the conquest, an Indian
The tradition of the yegüita or little horse is found a vein of gold on the road to Curime, it
part of our festival and is represented by a was discovered by one of the neighbors, who
man dressed in a type of petticoat, made secretly began to collect gold nuggets. Also, one
with a vine hoop and covered with a blanket day, the first of the Indians and his wife found
or blanket; A horse's head made of wood is the second in a vein of gold and both began to
placed at the front and a tail (representing fight to the death. The poor woman trembled
the horse) at the back. Already in the with fear, she then knelt down and begged the
procession of the past that takes place on Virgin of Guadalupe for help. Instantly a little
December 11 and 12, at seven o'clock, the horse appeared and stood between the
little horse participates with its dances, bows combatants; Faced with the miracle, the fight
and genuflections, in front of the virgin, to stopped and both were saved. From then on,
the beat of a son that is played with drums, the participation of the mare in the celebrations
whistles ( which were formerly clay ocarinas). of the Virgin of Guadalupe began.
Also, they used bamboo or thin cane reeds.

The Boruca Indians

The “Boruca Indians” is one of the The bull represents the Spanish and the devils,
INDIGENOUS reserves THAT COSTA RICA by a strange association, the Borucas or
HAS. They are located in the basin of the Bruncas. Hence the bull never wins and at the
Grande de Térraba River, in the canton of end of the festival it inexorably dies. Once
Buenos Aires, province of Puntarenas, 28 gathered in the house of the Greater Devil, the
kilometers southeast of the head of the devils will come out with a bull that fiercely
canton along the Inter-American highway. pursues them, but cannot defeat them; On the
This reserve is located in a tropical rainforest contrary, in the end the devils kill the animal.
of the Pacific, customs Agriculture depends The little devils go from ranch to ranch and no
on basic grains (corn, beans, rice, etc.), as home is left without several visits. In each one
well as fruit trees and hunting and fishing, they dance a piece, where the bull attacks the
the dialect is “brunca” or “brunkajk”, which is devils, and they drink a lot of chicha. On the
currently used by very few. inhabitants of the second day, the chief authorizes the robberies
region; Many of the indigenous traits of that will focus on tamales and minor objects,
yesteryear have been lost, however some are the ransom of which will serve to pay for the
still practiced; for example: construction of music, the whistle, and the rental of the drum,
stone terraces, stone rows for walking, paths which an elderly Indian woman lends on the
between houses, fences of sticks joined with condition that she be paid in “kind.” ”. On the
vines, women open holes for the seed, and last day the bull is slaughtered. Under a mango
carry the wild boar crops, hunting is not done tree the devils finish off the stubborn bug that
at night, tortillas are frequent, chicha de still desperately fights to finish off its
plantain, yucca and pejibaye, mark early adversaries, defeated; The meat is put up for
hours by singing birds, reduce social sale, following a list drawn up by the Mayor.
participation of women during their menstrual Each neighbor gives his name and indicates the
period, dance and dress up at the Boruca tons of meat he wants. At the beginning of the
New Year's Eve parties sale, a sack full of straw symbolizes the back of
Among the dances and traditions that are the bull is torn into pieces and its parts are
still preserved in the Boruca indigenous given to each buyer, payment is made with
reserve is the festival called “The Dance of leaves from trees that grow nearby. Once this
the Devils of Boruca.” It is celebrated from ceremony is over, everyone can drink free
December 30 to January 2, and consists of chicha and guarapo.
some indigenous people dressing up as minor
devils and meeting at 10 pm at the Major
Devil's house. About twenty Boruca Indians
previously named by the elder arrive ready to
participate in the annual celebration. Plus the
other one dresses as a bull.
The Christ of Esquipulas
(The Promesan Indians)

*Whoever in Costa Rica is unaware of the

existence of the image of the Holy Christ of
Esquipúlas de Alajuelita, or does not know
that there are many favors that our divine
redeemer is pleased to grant to all who
promise to visit him in his sanctuary in
Alajuelita and invoke his omnipotent aegis . *

The pilgrimage that every year from all parts of the republic, even from towns in other Central
American nations, on January 15, when the Holy Christ is celebrated, there are thousands of
people who, in all forms, individually or collectively in In all types of vehicles and on foot, they
go to participate in the solemn services, the beautiful procession, to obtain measurements, to
kiss the holy image and to pray a creed to remedy their needs. Historically, it is said that in the
mid-17th century, when a town began to form on the banks of the Diría River, on the Nicoya
Peninsula, Guanacaste, a town was established as a parish in 1821; It was placed in veneration
of an image of the Holy Christ of Esquipúlas. This image and its devotion was brought from
Guatemala by the Franciscan fathers, because in this republic since 1595 devotion to the Lord
of Esquipúlas was very popular.
In Santa Cruz Guanacaste, as in Alajuelita, this religious activity is also celebrated today and
the image considered to be the true one is called "Patron." At first, that image was enough to
tour the canton throughout the year; But the growth of the population and the new urban
conglomerations made it necessary to acquire four more images, similar to the pattern, to help
it travel throughout Santa Cruz. These images are called “Peones del Santo Cristo de
Esquipúlas”. In this region there are the Promethean Indians who are peasants who organize
spontaneously and for different reasons, to sing and dance in front of the Holy Christ, on the
following occasions:

1. When the image arrives on January 14, they sing and perform welcome songs in front
of the patron saint and in the church.
2. On January 15, during the celebration of the solemn mass at 9:00 am, at the end of
the mass they dance again and sing the “Alabado”, once carried in procession, to the
image of the Patron Saint to the atrium of the church .

The Promethean Indians represent a tribe with its respective hierarchical distribution. The “old
people” are first, the two characters are men, but one of them disguises himself as a woman.
His role within the tribe is comical in nature with exaggerated, somewhat vulgar exotic
movements; They do not sing like the rest of the tribe, they only dance to the beat of a dance
with a melodic line, different from the rest of the dance.
“Los Capitanes” are the chiefs of the tribe, they lead the group when dancing and singing and
sometimes even act as soloists. “Los Cumiches” represent the children of the tribe.
 Pumps (Women) Bombs (Men)

Men and parrots have a certain The neighbor across the street's
similarity, the older they get, the apron burned, if the firefighters
greener the bandits are. don't arrive the main thing will burn

I don't come to see if I can, but I don't like carrots nor beets, I
because I can I come, and in the don't come for the old ladies but for
absence of a boy, I entertain the girls.
myself with an old man.
I am like the crow bird, a bird that
Sabanero, sabanero, sabanero does not make a nest, a bird that
without a sheet, my bed doesn't lays an egg and another bird takes
dare, no son of your mother care of it.

Title: I'm Tico

Lyrics and Music: Carlos Guzman

And when the heavy downpours fall
I am Tico, because I carry Costa Rica in my gut It's like I'm the seed
because I cry when I hear a guitar when a The path smells like fertile land to me
marimba plays and with the sunset, filling my simple soul with illusion,
I am Tico, because every time I find
I am Tico and if I look out the window I am to a foreign friend
captivated by the mountains and my heart is I show him my warmth
happy. I am Tico, because I live in love
and proud of the land
I am Tico, because I feel the songs of my land, that has inspired my song.
because I live with the "Luna Liberiana", "El
Huellón de la Carreta", "La Patriótica", and And when the heavy downpours fall
"Pasión"; I am Tico, and when I look at the dawn It's like I'm the seed
the lament of the yigüirro accelerates my emotion. The path smells like fertile land to me
filling my simple soul with illusion
I'm Tico, because a purple guaria
it delights my gaze and
it really impresses me
I'm Tico, and if that doesn't tell you
anything
I will show you my country
give me a chance!

Title: When there is a shift here in my town

Lyrics and Music: Ernesto Alfaro

I feel very happy when there is a shift here in my

town because there they spend the happy hours of
my heart listening to the happiest songs from my
land, remembering traditions to the same
imagination.

E: I feel like I'm back in the days of old Costa Rica,

with the adobe houses, the cart and the pylon. I
think that nothing has changed, that what I see is
not true, and although I respect progress, I want
the traditional.

I feel very happy when there is a shift here in my

town because there the atmosphere smells of
arracache and pozol and to the sound of the
Cimarrona in the macriolla people are happier when
Emeterio sings or Lencho plays the accordion.
E: I feel like I'm...

Secrets of Creole Costa Rican cuisine.

After extensive and thorough study, we discovered a rich tradition of secrets
of Creole cuisine.

This is not a cookbook in the way this is usually understood, although a

wide and varied collection of strictly Creole recipes is included at the end. It
is, rather, an effort to historically recover the culinary practice of Costa
Ricans throughout the centuries, which dishes they have enjoyed over the
years.

That is why a recipe book is included at the end, which testifies not only to
its immediate possibility of preparation, but also to the certainty that the need
to feed can be combined with a healthy pleasure and, most importantly, with
the natural environment in which it must be inserted. and from which you
must obtain the basic materials for its preparation.

SPOTTED ROOSTER

Our typical national dish is eaten at

any of the three meals, although it is
more common at breakfast.

In a frying pan, put the mateca, fry onion to taste, finely chopped sweet chili
and coriander and when they are golden brown, put in the whole cooked
black beans, fry them well and add the cooked rice.

There are as numerous variants as there are in the country, since each
housewife adds the condiments she wants to the basic recipe.
 CHICKEN RICE

A typical national dish, it is eaten at

any of the three meals.

 1 Chicken
 ½ pound of rice
 2 tablespoons of butter
 2 small sweet chilies
 2 peeled garlic
 1 cup of peas and the water in which they were cooked
 1 medium onion
 2 large tomatoes, salt and pepper to taste

The day before, the chicken is marinated well, both outside and inside. The
next day a casserole is placed on the fire with butter, onion, chili, garlic,
tomato. Everything finely chopped. When it is well fried, add the chicken,
cut into small pieces, and add a little boiling water to soften it. Separately,
wash the peas and cook them in a small pot until they are soft. Wash the rice
and when the chicken has softened, debone it, add the water until it covers
the chicken well and add a chili peeled and cut into strips. When this starts to
boil, cover it and leave it on the heat for a while longer. Leave it dry or dry
depending on your taste.

PORK TAMALES

The traditional pork tamales, very

characteristic during Christmas and
New Year to share with the family
  3 pounds of cracked corn
 3 pounds of pork ribs
 ½ pound of butter
 ¼ pound bacon
 ¼ pound carrot
 4 garlic
 ¼ pound rice
 5 large sweet chilies
 ½ pound of peas
 2 large onions
 Worcestershire sauce, pepper, cumin, annatto, salt to taste

The day before, the meats are marinated with salt, pepper and cumin, garlic
and onions and left in a saucepan. The next day they are put with enough
broth to cook until they are soft; Then they are removed from the heat, in a
separate pot they cook the corn, then grind it, adding cumin and pepper,
butter and the broth, stirring everything very well. Cook all this, moving it
constantly until it boils, then remove it from the heat. Remove a little from
the dough, stir it with onion, chili and ground garlic (to taste) and put it in a
saucepan along with butter and annatto and put it on the fire and let it cook
for a while (gizo). Then prepare the tamales like this: spread some banana
leaves on the table, enough for one tamale, placing on them half a cup of
dough, on top of it little pieces of meat, rice, gizo, carrot, chili and other
ingredients , wrapping all this very well in the leaves. Pour the tamales into a
pot of boiling water, leaving them on the heat for two hours.
 CHICKPEA WITH PORK RIB

The traditional pork tamales, very

characteristic during Christmas and
New Year to share with the family

 pound of chickpeas
 ½ pound pork ribs
 1 tablespoon of butter
 1 small onion
 2 cloves of garlic, salt and pepper to taste
 1 small sweet chili
 1 medium tomato

The day before, wash the chickpeas and leave them in cold water. The next
day they are peeled and cooked with the rib in boiling water until they are
soft. The tomato and sweet chili are peeled and the seeds removed. They are
chopped into strips and a saucepan is placed on the fire along with the peeled
garlic and a slice of onion. When they are golden, the chickpeas, chili,
tomato, the rest of the chopped onion and the ribs are added. They are
seasoned with salt and pepper and left on the heat until they are absorbed
from the sauce. They should not be dry or too watery.

Taken from the book 500 years of Costa Rican Creole cuisine, by author
Marjorie Ross de Cerdas (In the heat of the stove).
Within our traditional popular music there are rhythms, many of them arrived in
colonial times, others after this that little by little were mixed with our aboriginal music
to give changes in its harmonic form as well as in the rhythm and melody. ; Many of the
songs and rhythms, most of which came to our territory, were proan songs and religious
songs, generally brought from Spain. Our Indian, mestizo or ladino opted for these
forms, in some cases changing their lyrics or melody but always maintaining the name
of the song's rhythm, although in some cases giving them a different interpretation. In
this way we can say that in Costa Rica the following rhythms are performed: The so-
called parranderas, street parties or parades, include the jotas, waltz-jota, dance and
contradanza generally performed by the “cimarronas... in shifts, bullfights, costume
parades and other festivities; in addition to the criollo waltz, mazura, corrido, fox trot,
polkas, hallway. Pasodoble, etc. On the Atlantic slope there are other rhythms belonging
to the Afro-Limonense cultural group, brought from the area by the blacks who came
hired for the construction of the railroad; most of them came from Jamaica, the islands
of Guadeloupe, ST Kitts and other Lesser Antilles. To accompany the dance called
cuadrilla or cuadril and the square dance you can listen to the waltz, the Colombian
hallway, the mazurka, march, gavotte, pulley, in some cases Antillean merengue,
calypso, etc.

COSTA RICAN FOLK MUSIC

According to Lic. Wibert Alpizar Quesada, from the Ministry of Education, folk music
is made by the people, which has become traditional and, when imitated, suffers
variations over the years. She is not erudite.

In Costa Rica there are four areas, perfectly delineated, where folk music is produced:
Guanacaste, the central valleys, Limón, San Isidro del General.

The music of these areas, I will call them from now on, Guanacasteca, Villagena,
Limónense, Generaleña, respectively.

In other regions of the country, music is composed that is a copy of this folklore.

GUANACASTEC MUSIC
Guanacaste music is the best known, to the point of being mistakenly considered the
only folk music in the country. A good model of her is the dance “Los Amores de
Laco”.

The most common folkloric rhythms of this area are: dances, street dances, points,
parranderas, tornas terrones, batambas, tambitos, garabitos, floreos and barranquitas.
Some of these rhythms are not native, but have acquired Guanacaste citizenship. In
them we find Spanish, Nicaraguan, Cuban, Panamanian and Colombian influence.

The dances are the old style. Its rhythm is copied from the Andalusian one. They are
very lively, sometimes alternating the binary rhythm with the ternary rhythm.

It is customary to play a dance before or after another rhythm, folkloric like the point or
a Creole rite like the jota or the polka. The “masquerades” and “topes” are enlivened
with the jota-dance forge and the “bullfights” with the dance-point form. This musical
style is called “parrandera”. In the past, public dances were held on the corners of the
most important streets of the Guanacaste towns and following Spanish tradition, the
music played at these dances was called “parrandera.”

Currently this name is used to designate any happy dance or contradanza, "alborotera",
which serves to liven up any celebration and is played by a band, philharmonic,
charanga or marimba.

In the archives of the Liberian band there are many pieces of this type, which are the
most popular in the region.

There are four types of parranderas:

1- Those that combine fast and slow rhythms-(contradanza or cuartillado dance)
2- Those that have a single fast, happy rhythm.
3-Those that begin with a jota and then move on to the rhythm of a dance or
contradanza.
4-Descriptive ones that use different rhythms depending on their argument.
Generally its instrumentation presents a different rhythm called batamba in the
bass.
The batamba originated because the organizer of any charanga, maroon or ensemble
was concerned with choosing the various musicians who should play at popular
celebrations and did not give it any importance or forgot to choose the musician who
should play the bass drum. So, to get out of trouble, he would ask anyone to do it and he
would play the bass drum whenever it occurred to him.

Some “marimba players” and “guitarists” called “guataqueros” for playing by ear and
accompanying any song played under a single rhythm, which was the only one they
knew and which in most cases was different from that of the piece. that they were
accompanying, resulting in a polyrhythmic work, such as the case of “passion.

It is used in the instrumentation of parties, street parties, etc.; and a bass drum and a
rattle (donkey's jaw) are played.

Any piece accompanied by this rhythm takes its name from it. When it is instrumental,
it is called “charanga” which is also the name of the band that performs it.

If the lyrics of the batamba are romantic, it is known as “Acarito” and is generally
composed in a minor key like the piece “El Despreci.”

The barranquita , rhythm of the “Guaria Morada”, is reminiscent of Yucatecan music.

It has a lot of Mexican influence. In Las Juntas de Abangares there are some songs
called “arranca terrones”, extremely happy, like the parranderas, which have a rhythm
of six eighth notes and a rhythm of six by eight. “When dancing it, the peasants ripped
up clods from the dirt floor with the big toe of their bare feet. Hence its name. “The
albarda alazana” and “The leather of a good animal” are some of these pieces that the
marimberos play with guitar accompaniment.

Their rhythm is like that of a light polka and their names always refer to some animal.
The street girls are happy and often their lyrics are a copy. He is in the concept of many
musicologists, “the most Costa Rican of our times.” His accompaniment is like that of
dance.

“La botijuela” is a street dance whose choreography is reminiscent of the Spanish gangs
that in turn were influenced by the French ones.
The point alternates the two-by-four time signature with the six-by-eight time
signature. It is also called “Dance or with loose”, due to its choreography: the couple
dances loose. Its lyrics are a “bomb” (copy or quatrain) that is recited interrupting the
music.

The flourish resembles the jota, it is a small piece, generally for guitars, composed in a
three by four time signature. The dancers interrupt the music several times to say some
joking, spicy or hurtful “bomba”, where they allude to each other.
The Guanacaste tambit appears in its structure and is a loose dance.

El garabito is a piece for voice and guitar, with a six-by-eight time signature. Its
rhythm is balanced like that of the barcarolle. In the form of a garabito, the piece titled
“There next to the Tempisque” is played in Guanacaste.

The tambito has unknown origin. It is believed to descend from the ancient Spanish
dance. It is similar to the flourish in its beat and in the rhythmic drawing of the bass.
Currently, in Guanacaste territory, the piece called “El zapateado de Cadiz” is played,
which suggests that it has a Spanish influence. The rhythm of tambito is ¾ syncopated.

Several decades ago, professors J. Daniel Zúñiga, Roberto Cantillano and Julio Fonseca
collected Guanacaste music and made it known in the central valleys. Since then it
became the favorite within the folklore field.

But I must note that there is a great difference between the way in which this music
published by the Ministry of Public Education in the years 1929, 1934, and 1935 was
written and the way in which it is played by marimberos, guitarists, charangueros, etc
The point, the batamba, the street bands, the tambito and the parranderas, etc; They are
played in different versions, with variations in their rhythms and time signatures. This is
because they have undergone changes over time like all folklore works and perhaps they
were modified or stylized when written by music technicians.

VILLAGE MUSIC

It is composed by anonymous authors from the central valleys. The beautiful tunes
heard from time to time in the “peasant serenades” are folk songs that have a Spanish
influence. “There can be no love like the first” and “wake up girl” are good examples.
of this village music.
In this area there are many dances, rhythms from which the others are derived.

THE BATAMBAS of the central valleys are different from those of Guanacaste.

They have a ternary rhythm and are played by the guitarists and the marimberos
“Guataqueros”, when performing any piece or when accompanying any song. The
peasants called it Chorolonchón.

In the Vuelta de Jorco a genre called “Jorqueño” was born whose melodic rhythm is a
three-by-four rhythm that resembles the mazurka with the characteristic that its basses
have a batamba rhythm that repeats perennially throughout the work, a great harmonic
progression that goes from the tonic to the fourth and from this to the dominant (1-4-5)

The piece “Aire de Vuelta de Jorco” is an example of them.

Village songs have a characteristic that identifies them: each verse of each stanza is
longer than the musical phrase, meaning that the lyrics do not fit very well with the
music. That is why the peasant when singing it has to “race” in certain parts, so as not to
lose the beat, saying the lyrics in a rushed manner, disfiguring, as a consequence, the
music as well.

GENERAL MUSIC

It is the one in the south of the San Isidro de El General region. It is a different folklore,
almost unknown in the rest of the republic. The rhythms of “Tambito” and “Campera”
and peasant tunes like “Palomita charming” are common.

The “Campera” is a combination of peasant music with some Creole rhythm or with
the Chiricano puento or the Colombian cumbia. They are very common in Buenos Aires
de Osa.

El tambito Generaleño : It is played by strumming the guitar and is very happy. It

seems that this rhythm originated in this region and later, with some modifications,
passed to other areas of the country.
The Southern Son: has a three-quarter time signature with the rhythm accentuated in
the first and third quarters.

The tunes of this region are inspired by the “Candles of the Little Angels”, the “candles
of the saints” and the “bride and groom festivities”. They are also based on legends and
stories of "appearances" and "scares" in events that occurred during the celebration of
the town festivals, where on summer nights, the guitars, violins, accordions and
mandolins with their romantic sound seem to keep Chirripó awake. They make the
moon laugh and the stars sigh.

LIMONENSE MUSIC

It is the result of various influences that have given rise to several folkloric branches:
one is the Hispano-Aldeana influenced by traditional and village music that, in turn,
originated from the Spanish.

For example, the children's round “Mirón, Mirón” became popular and took shape in
this area.
The Limonense version of this song was published in the “Bonifacio Gil Universal
Children's Songbook”.

Another branch is the Antillean Afro, the most rhythmic in the country, used by the
famous “comparsas” in their different dances and songs. The greatest influence of this
music comes from the islands of Haiti, Jamaica, Guadeloupe and Saint Thomas, which
serves to accompany a wide variety of dances, some of a buffo nature and others of a
descriptive nature. They generally take the name of the group that performs them.

A buffa dance is, for example, that of “The skeletons” and some descriptive dances are,
for example, that of “The pirates” and that of “The langosteros”.

The Sinkit is a rhythm that is played with a bass drum, two snare drums and a clarinet
(black-stick). This form appeared in Westfalia, later moving to Cieneguita, today the
Cristóbal Colón neighborhood. The carnival group that dances and plays it is called
“Los Sinkis”.
The third branch is the Hispanic-Caribbean. Its main rhythm is the melodious and lilting
“son” of Afro-Antillean music. It is influenced by the music of Cuba, Puerto Rico,
Panama and the Dominican Republic.

The fourth branch is what the composer Toño Argüello calls Afrotica. This music is the
result of mixing Protestant hymn-type music with Costa Rican secular music. Its rhythm
is syncopated, with the accent on the last note of each measure, which can be binary or
ternary.

Excited composer Argüello composed a work for piano using this rhythm and titled it
AFRO-TIC DANCE. I call this music AFROLIMONENSE. Many years before the
“Boggie-Woogie” appeared and became fashionable, in Línea Vieja de Limón, there
was a very similar rhythm, which was danced with frenzy by the inhabitants of the area.

The “pocomías” are sung by groups that have the same name. When a “brown” dies, the
believers of a certain sect sit the dead person on a chair and dance around him with
happy music “that heals the fallen spirits of the parishioners.” These dances and songs
are based on the beliefs and liturgies of their religion.

TRADITIONS

If you carefully observe the people around you, you will realize that depending on
where a person lives, daily activities are carried out that vary from place to place. These
activities that are carried out daily are called cultural traits or customs. These can be
material or spiritual.
Examples of material features include: buildings, streets, parks, churches, monuments,
libraries, schools, etc.

As for the spiritual, the following are listed: beliefs, language, history, traditions,
folklore, etc.

Customs have been formed both in the family and in the community and were obtained
from Aboriginal and Spanish ancestors.

These customs are found in parties, meals, in the way of expressing oneself and in the
way one faces joys and sadness. They are their own style of saying how the world
around them looks.

Some of the customs that are carried out in the provinces are:

1. The use of the basket to collect coffee. These baskets are made with vines that
are woven until they are given the appropriate shape. They are then sold to those
who will be in charge of collecting the grain.
2. Decorate the yokes and carts with brightly colored drawings. This is an old
national custom. They also make yokes and small carts that serve as decoration
as well as to sell as souvenirs to tourists.
3. The construction of adobe houses and the decoration of the roofs with clay tiles.
This custom is currently no longer carried out and the few buildings that exist
are considered national heritage.
4. Decorating houses with plants planted in different utensils such as clay pots,
tires, tin containers, old pots, etc. Every waste container is used by housewives
to plant some ornamental bushes. We still find this custom in rural areas.
 5. In rural areas, the peasant's custom is to go to bed early, around 7:00 and 8:00 at
night and get up at 4:00 and 5:00 in the morning. These and many other customs
make us identify as Costa Ricans and for this reason, it is our responsibility to
preserve them.

The influence of customs from other cultures begins to take root in Costa Rican society.
Due to such influences, even people's tastes change in relation to the places where they
make purchases of basic consumer items. Television plays a great influence in people's
daily lives. At least 90% of Costa Rican homes had television in 1994. This is used by
people when they want to rest or entertain themselves and is also "the most used means
to promote and learn about new products offered on the market..." Traditions can be
defined as the cultural transmission of news, compositions of songs and music, customs,
among others, made from generation to generation (from parents to children). In each
canton the following traditions and customs are observed: family festivals, patron saint
festivals, dresses, foods, beliefs, superstitions, legends, songs, sayings , dances, games,
music and poetry.

The knowledge and experience of the traditions and customs of the canton allows us to
recognize the roots of being Costa Rican. This facilitates unity, respect between people
and allows each canton to be identified. The traditions are manifested in the cantons in
the following way:

The families that make up the cantons have had a tradition of holding family parties to
celebrate, for example, birthdays, first communion, baptisms, and marriages. In
addition, parties are held when Father's Day, Mother's Day, Christmas and New Year
are celebrated.
During these holidays the family gathers and traditionally expresses love and respect for
their loved ones.

The cantons and districts dedicate their town to a saint. These traditional festivals are
based on shifts or village fairs where they sell: tamales, picadillos, elotes, rice with
various meats, chorreadas, natural soft drinks such as chan, mozote, pinolillo.fruits;
meat roosters, sausage, rice pudding, desserts, homemade bread and other foods. Bingo,
some mechanical games, the tope, the reign with participants from each district and
sometimes bullfights or horse races are organized; activities that provided entertainment
for people. In these celebrations it is traditional to see clowns run through the streets of
the town accompanied by the municipal music band (or maroon), to offer joy and good
memories to the people of the place.

In the field of language, coplas, compliments, songs and bombs stand out, compiled by
Professor Emilia Prieto for the folklore of the Central Valley.

Many of the songs have been recovered by the group Cantares. Regarding linguistic
folklore or grammatical vices, diction errors and word distortion, you can sometimes
hear questions like: Do you want to drink coffee or something else? and the answer is
"Nothing has", an expression that only makes sense among the Ticos, the same goes for
"achanta" and if it is said that someone is in "cabanga", it is understood that it is the
state of mind of that person. There are stories and legends , as well as superstitions or
witchcraft that are passed from mouth to mouth. In those overwhelming conversations
you could hear the legends of the cadejos, the hand of water, the llorona, the segua, the
cuijen, the tumatuteita: woman offering her breast, the bad monkey: the bad monkey or
devil, the old man of the mountain. The lights or spirits, the ghosts, the witches, the
spooks that walked from one place to another. There are those who say that they saw
and heard things that were scary, like the cart without oxen.
Folk dances keep tradition with their steps and shouts, as in the case of Punto
Guanacasteco, El Torito, La Pampa and La Yegüita; In indigenous dances such as the
Baile de los Diablitos, the music that sings to the landscape, to the love of traditions, is
highlighted and the marimba and quijongo are used with tritone sonatas. Traditionally, "
bombas " are used, which are quatrains with direct popular language, messages of value,
love and mischief. The crafts are part of the traditions that the workers make. Some are
worked in the old tradition, such as clay work (known as pot clay), others, like
ceramics, use other elements: kaolin, porcelain, imported paints, among others. Among
the traditional meals in the cantons we can mention: the gallopinto which consists of:
rice and beans with a potato, yucca, squash or ripe plantain and occasionally meat.; the
yellow corn tortillas with cheese, large, nutritious and homemade; the pozol; the
dungeon; chicha (indigenous); pork tamales; dripping and crusty. The warm drink
known as chocolate, cooked milk, aguadulce and milk soups are taken. Other traditional
foods are: roasted tamale, pan bon, rice and beans, vigorón, tubers such as yams and
tiquisque, rondón, meat with coconut oil and fish. Generally, the peasants carried their
backpack with banana leaf lunch to work.

Moral traditions were very strict in the cantons. The family gathering was appreciated.
Everyone at home went to mass, the girls didn't go out, and when they did they only
flirted a little. They only sat on the seats (known as park benches, watched by a family
member).

Nowadays, young people have many places to have fun and they arrive home at night or
early in the morning with less privacy.
The Holy Oils (Viaticum): The extreme unction to a sick person. The
priest together with the sacristan entered the house of the dying
person and showed him respect and honor; The streets that passed in
front of the grieving family were closed. All the relatives and neighbors
gathered to pray. Currently, neighbors and relatives hardly notice this
family tradition.

COSTA RICAN FOLKLORE

Folklore covers all the manifestations of daily life, their way of dressing, speaking,
dancing, their songs, sayings , trades, superstitions and other typical reflections of the
people. Knowledge of folklore and traditions allows us to know the roots of our
ancestors, of the national. "Folklore should be considered an element of great
importance within the national identity, since it allows different peoples to be identified,
therefore to the extent that they identify themselves as a people, their nationality is
strengthened and they are committed to the destiny of Costa Rica. Because Costa
Rica is a very small country, there are few customs that could be
identified as typical of a province, however our beloved province of
Guanacasteca has its own history that is based on the pre-Columbian
roots of Mesoamerica. A large number of the typical or folklore songs
that are performed in Costa Rica come from the Guanacaste region,
such as Punto Guanacasteco, El Torito, Pasión, Amor de Season,
Pampa, El Caballito Nicoyano and many others.

Closely related to the composition of songs, the inhabitants of the

Nicoya District have made many musical instruments, some of them of
indigenous invention such as: drums, jaques quijongos, ocarinas,
chirimias, whistles, (from animal bones) others copied such as the
guitar and the marimba, but which have been perfected in an
extraordinary way in the region. Invention of bombs : In the region of
the old Nicoya Party and in the rest of the province of Guanacaste, the
birth of cheerful bombs has taken place that liven up the festivities in
most Costa Rican towns, some of them are the following:

I would like to be a shoe

to kiss your pretty foot,
and look from time to time
what the little shoe sees.

If your boyfriend despises you

don't want it again
because trash that is thrown away
It is not collected again.

Normally in our towns or cities, patron saint festivals or shifts are

celebrated, where topes, horse fights, bull riding, bullfights, food sales,
carnivals and masquerades are held, the queen of the celebration (tica
linda) is chosen, in San José experiences this custom every end of the
year with the well-known "Zapote Festivals", these being one of the
most recent customs that brighten our country in general. Most Costa
Rican traditions are closely linked to religion, hence the celebration of
the Patron Saints of each town, the celebration of Holy Week, August 2
"Day of the Virgin of the Angels" where the majority of Costa Ricans go
on a pilgrimage to Cartago. Along with the religious spirit goes the
cultural tradition with the preparation of special foods, such as chiverre
honey, roasted tamale, rice pudding, chiverre empanadas, coconut
candy, different pickles, among the traditional dishes we find the gallo
pinto, arracache picadillo, chorreadas and more from the modern era
rice with chicken. The legends that many of them are based on a real,
historical or anecdotal event, in which the popular imagination adds a
wonderful or fanciful interpretation, and thus legends are born, and
among the most Well-known are: La Llorona, El Cadejos, La Segua.
The Wagon Without Oxen.

In Costa Rica it is also customary to use proverbs and they are part of our folklore,
among them we give examples:

• He who walks with wolves learns to howl.

• He who lends, stays when he asks.
• He who leans close to a good tree receives good shade.
• Jack of all trades, master of none.
• Out of sight, out of mind.
• If you search you will find.
• Loose lips sink ships.
• From saying to doing, there is a long way.

Costa Rican Traditions

Costa Rican dances Children of Costa Rica

Costa Rican Foods Costa Rican clothing

Jewish Community of Costa Rica Theaters of Costa Rica

Men from Costa Rica Costa Rican Traditions

Women of Costa Rica

Click to enlarge

Costa Rica is a colorful country. The multicultural mix includes customs from countries such as Spain, Italy,
Jamaica, parts of Africa and Asia, along with all the beautiful elements of the area's indigenous heritage. Most
of all Costa Rica is Catholic and most of the traditions come from the religion itself and revolve around another
important thing in Costa Rica: Family. We have created a list of the most important celebrations of Costa Rican
traditions and an explanation of each one so that you can understand Costa Rican culture, customs and
celebrations a little more. Please have a look.

Click to enlarge

August 2, Virgin of the Angels : This is a wonderful celebration, which honors the patron Virgin of the
Angels. She appeared to a young man from Carthage many times as a small stone statue and asked him to
build a church in her honor in the place where he kept finding the statue. The people did so and many miracles
began to happen. Therefore, every year people from the most remote places walk from their homes all the way
to church to pay respects or make promises in exchange for miracles, no matter how far away they live.

Holy Week – This is a mix of parish and family celebrations. Throughout the week there are special services
and activities in the churches beginning with "Palm Sunday", where the priest gives a blessed palm to each
person as a token of the day Jesus walked in Jerusalem and the people greeted him with palm leaves. , the
celebration ends on the Sunday following the resurrection of Jesus, 3 days after his crucifixion. The first three
days of the week are usually very normal, but starting on Thursday all businesses close, some people choose to
stay home and pray, but most citizens escape to the beach and although it is prohibited to sell alcoholic
beverages, People buy in advance and attend church once they return home on Sunday.

Lighting the Christmas tree : The most important Christmas tree in Costa Rica is the children's tree of the
National Hospital. It is an undisputed tradition for people to go there on the first day that they illuminate the
tree to accompany sick children in this event. This gives the children in the hospital hope and makes them
happy despite their situation.

Click to enlarge

April 11 and July 25 : These two celebrations revolve around Guanacaste: April 11 is the day of Juan
Santamaría, our national hero who burned the house where William Walker and the filibusters were. They who
try to take over the country and the State and implement their own ideals. During this fire in the center of the
battle Juan died, so we honor his strength and determination. July 25 is the celebration of the day when the
province of Guanacaste is annexed to our country, the celebrations involve typical food and dances. Children
generally dress in traditional costumes.

The Portal and The Prayer : This is a beautiful Christmas tradition, people recreate a little of the scene of
the moment when the Baby Jesus was born with figures and decorations. Most people put it on from the
beginning of December and keep it on until January, baby Jesus doesn't appear on the scene until Christmas
Day at 12:00 noon.

To remove the Portal , Ticos have to invite their friends and family to pray a rosary followed by Rompope
with all kinds of typical snacks and Tamales. Tamales are made by the whole family, usually with grandma's
recipe.

Among other traditions of the culture we can mention that children do not usually move house until they get
married. People like to go on day trips to the nearest rivers or in a large group to the nearest beach and bring
lots of snacks, including eggs, which is why this traditional trip in Costa Rica is called "egg-eating." . Food is
also a delicious tradition: Agua Dulce (a sugar cane drink), Chorreadas (type of pancake made from corn),
picadillos and all the lovely dishes make Costa Rica a different place to enjoy.

THE CAJETA
LA CAJETA: Traditional It represents the story of the poor
peasant girl from Guanacaste, who is sent by her mother to
sell homemade products, such as cajetas, rosquillas, tanelas,
rice pudding, atolillo, pozol, etc., with a round wooden bowl.
cobada and its white liumpion, embroidered with bright
colors. As she walks she stumbles upon exploitative men
who make her fall in love and who try to touch her as they
pass by. At first she manages to avoid stalking, but the
woman finally falls into the arms of a lover.
DEVIL CHINGO
More than a dance, it is a theatrical representation of a
popular legend. The main character is a bull with a short tail,
which they call “Diablo Chingo”. According to legend in
Guanacaste, this short-tailed bull scared people at night,
hiding in the darkness because the bull was black; He
skillfully gored people who passed by on one of the streets
of the town, making its inhabitants believe that he was the
devil in the form of a bull. As there were already many
victims, all the neighbors decided to discover the enigma
and went in search, finding it, they fought it all night until the
animal fell out of breath and exhausted. Without a doubt this
descriptive dance is inspired by the “Fiesta Brava”, a cultural
element of great tradition in the region and introduced by the
Spanish.
SEASONAL LOVE: Héctor Zúñiga -
It is a passionate remembrance, a memory of a frustrated
love, that left us one summer night... there on the beaches of
Coco. The inspiration of the musician and composer Héctor
Zúñiga is revived in a choreography full of tenderness when
the notes make you dance in seasonal love.
PARTY IN THE VILLA: Henry Porras -
In Villa Quesada, San Carlos, the traditional festivals of the
northern towns are celebrated. In this case, the leading man
does not want to take his partner to the celebrations; He
leaves and gets drunk. The lady, in anger, looks for him, hurt,
to complain why he did not participate in the feast. The man
tries to please her in one way and another, until in the end,
after a “tug” on the ears, she forgives him with a kiss.
SEASONAL LOVE
In Villa Quesada, San Carlos, the traditional festivals of the
northern towns are celebrated. In this case, the leading man
does not want to take his partner to the celebrations; He
leaves and gets drunk. The lady, in anger, looks for him, hurt,
to complain why he did not participate in the feast. The man
tries to please her in one way and another, until in the end,
after a “tug” on the ears, she forgives him with a kiss.
CUTE TICAS: Mario Chacón
Dedicated to the Costa Rican women of each of the seven
provinces, it is a respectful tribute of admiration and sympathy to
our women who also contribute to the aggrandizement of the
Homeland, in its lyrics the outstanding characteristics of her are
outlined. Generally choreographies have been created only for
ladies.
TICO SOY ME: Rodrigo “Chino” Piedra
Piece of our beloved “Chino” Stone. It is inspired by the
tranquility, love and fraternity that reigns in our country
compared to our Central American brothers. It is aimed at all
Ticos and is for them, it has no distinction of race, religious or
political belief.
THIS IS MY LAND: Mario Chacón
Original composition by Mario Chacón. It is a beautiful little
piece whose choreography is inspired by the work of the
peasants of the Central Valley, their hopes and their hardships,
their life that, despite being hard, has its moments of peace and
rest alongside their own. It is the representation of the work of
“chapeo”, of cleaning the land where weeds and bushes are
cut, a typical representation of the work of the man in the fields
of our land.

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