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The Story of La Purisima and La Griteria: A Unique Nicaraguan Sacred Tradition Adapted to Louisiana By Denese Neu
The Tradition in Nicaragua Nicaraguan Immigrants in Southeast Louisiana According to the most recent census in 2000, 3685 Nicaraguan immigrants live in Louisiana. Approximately 80% resided in Southeast Louisiana and nearly 2300 in Jefferson Parish. Jefferson Parish is the largely suburban area that is a substantial geographical and population portion of the New Orleans metropolitan area. Before Hurricane Katrina, the metro area's population was estimated to be 1.2 million. Comparatively, this made the Nicaraguan population quite small and the compiled Latino population of the area was only around 6%. As a major port city, New Orleans and Central America had close ties for many years. One of the significant links was the United Fruit Company, which imported tropical fruits to the United States. Many of the Central American workers sent their children to boarding school in New Orleans to provide them with an American education. Even so, the area did not draw Nicaraguans in large numbers, other than those who came in three distinct waves. The initial group was during the 1950s and 1960s. These were mostly from the Atlantic Coast region and many of them were associated with trade companies. The second wave was mostly comprised of urban populations leaving Nicaragua to escape the Revolution and Civil War that began in 1979. The majority of refugees went to California and Miami. Those who had ties to the New Orleans area more easily immigrated there. The last wave was in 1998 when people left Nicaragua and Honduras to escape the ravages of Hurricane Mitch. Again, those with connections to others already living in the area helped draw them to Southeast Louisiana. For the most part, Nicaraguan immigrants have assimilated to American and Southeast Louisiana culture. Unlike other immigrant groups that established village-like enclaves in the region, the Nicaraguans dispersed and made their home among the general population. The organizers of La Purisma share that they believe the area is very accepting which made it easier for them to make it their home as well as stay connected to their roots but that they needed to be connected to the people from their country. This was their motivation for starting the La Purisima and La Griteria event at St. Jerome Catholic Church. Martha explains, "We would go to the church and see others. …It is important to who you are. …It is important to be together." Anyone familiar with the vibrancy of New Orleans also knows that it is a place where colorful culture and celebrations are welcome and thrive. The city is Creole: it is a place where white is not necessarily European and black is not necessarily African. The native people of the city are more diverse than the U.S. Census classification measures. Many people of color are the mixing of race and ethnicity, including French, Spanish, Native Americans, and Africans (slave and free people of color from the Caribbean). As mentioned earlier, La Purisima is unique to the Nicaraguan culture, but it is easy to understand how its celebration is welcome in Southeast Louisiana. Although the area had a relatively low rate of Latinos before Hurricane Katrina, Nicaragua and Southeast Louisiana share similarities between the Creole and Catholic populations. In many ways, the Nicaraguan immigrants blend well into this area as they too also come from the merging of European settlers, indigenous people, and enslaved Africans. They are also predominantly Catholic which helped make the transition to their new home. New Orleans is one of the few predominantly Catholic cities in the United States and statuary of Mary is prevalent throughout the region making it easy for Nicaraguan immigrants to demonstrate the faith that is so central to their culture. After the destruction of Hurricane Katrina, many photographs were taken of the Virgin still standing among the debris or in front of an empty slab where a home once stood. After sharing a traditional Nicaraguan meal prepared for the interview, Mina Lanzaz discussed the veneration of Mary as culture in great detail. She explained that their lives, as Nicaraguans, as New Orleanians, are entirely intertwined with faith. As the only child of two Nicaraguan immigrants, she was raised with the customs but never participated in a La Purisima that was organized for the public. Berta Lanzaz, Mina's mother, explains that they pray the novena that is the reason for La Purisima. They do not feel the need for the event to worship Mary. Dispersion and a busy lifestyle are also factors for not attending the event. When Berta Lanzaz listened to the songs recorded at La Purisima, it was apparent how deeply her native culture remains rooted within her. She became energized and went to retrieve an old songbook given to her by her mother. These were the songs of her home, and she was soon singing along with the La Purisima recording. Mina told her stories of memories of La Purisima and the December celebrations as a child. When asked how she learned her culture, she stated through observation and her parents. Raised bilingually, she translated the Spanish version of Historia de La Purisima, la Lavada de la Plata y La Gritera. Upon completion, she laughs and says, "I didn't know the specifics, but I remember the candy!" She shared stories of when family from Nicaragua came to visit, especially during the December celebrations, they would open their suitcases and the distinct smells of gifts emerged. The Nicaraguan heritage remained in their home practices even as they embraced the culture of New Orleans. Her father, Nilo Lanzaz, merged his cultures in his paintings. One such painting depicts the Nicaraguan countryside with a volcano looming in the background. In the foreground, a New Orleans-style brass band leads the Nicaraguans in a second line parade. This was Niloville, an imaginary place where all the beauty of Nicaragua meets the cultural elements he loved of his adopted home. When asked if he had ever done pieces depicting La Purisima y La Griteria, Berta responds that he never did those in particular. His paintings all depict the church, and religious themes and festivals are common. As the conversation continues about the Nicaraguan heritage of faith and their art, these two women share their piety and explain further why they no longer engage in any of the formal practices of La Purisima (that is: creating altars, traveling to visit altars, and attending the organized event). "Mary is the patron saint of Nicaragua. The presence of Mary is central to our heritage. We don't need to set up an altar. We are surrounded by Mary." This statement was made while we sat and spoke in the parlor area of their art gallery. Mary is indeed everywhere in the art and among the art. There are sections of the gallery that have the appearance of an altar, intended or not.When one first thinks or hears of altars in Southeast Louisiana, one might think of St. Joseph's Day. Every year, Italians celebrate their heritage and honor their patron saint with elaborate food altars. Those altars consist of abundant food offerings that are then shared with those who come to worship on March 19. Many New Orleanians participate in this custom regardless of heritage. It is another tradition stemming from a particular heritage that has become part of the area's culture. The long history of altars in the New Orleans culture has made it easy for Nicaraguans to maintain their tradition. The long history of religious celebrations becoming a public event makes it possible that a version of the La Purisima and Griteria tradition could grow into the common culture of the place. How this might happen remains to be seen, but places are organic and change with time and people. As more and more Latinos migrate to the area for rebuilding work, they will likely influence the area's culture as other groups have helped create a unique American city. In Nicaragua, the altars are competitions between neighbors, streets, neighborhoods, and cities. In Southeast Louisiana, the tradition of competition within LaPurisma was seen through the area churches that host the event. Several years ago, the organizers held an altar competition outside of the churches. It did not transfer well because they felt it lost much of the sacred purpose. People came to look but did not perform the songs, as they should. It was an exhibit rather than the religious festival it was intended to be. As the Latino population grows, the community altars may take hold and become more common. It is not a far leap to believe that many non-Latino residents would embrace and adopt the custom, especially after facing so many challenges of post-disaster living. Faith has given many area residents the strength to stay. The Nicaraguan immigrants demonstrate this faith and commitment through their celebrations. Next - Impact Of Hurricane Katrina On The Nicaraguan Community And ConclusionDenese Neu has a doctorate in Urban Studies from the University of New Orleans. She runs a consulting practice specializing in heritage, health, and sustainability issues; conducts independent research; and is an adjunct professor now residing in Chicago. Documenting La Purisima and the Nicaraguan population brought her home and expanded her appreciation of the people who make Southeast Louisiana such a unique place. She did this research as part of the New Populations Project. |
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