Another side to 'Las Fallas'

More than just dummies, the "ninots" are carefully crafted monuments that adorn Valencia for some weeks

From "parot" to "ninot"

Much time has elapsed since the parot, a traditional standard lamp once used by the craftsmen of the city, was gradually turned into the gargantuan structures that can be seen today. It used to be that the lamps were burnt each spring when they became useless due to the lengthening of the days. In an astute manoeuvre, the Church tried to offset the pagan roots of this celebration by making the event coincide with the vespers of St Joseph, patron saint of carpenters.

Little by little, the elongated appliances began to appear dressed in clothes which then adopted human form, like scarecrows. Thus, naturally, they began to satirize local characters, shaping the ninot with materials such as old cloth and wax. Then would come the catafalques, supporting frames for the effigies or compositions thereof, which became more and more elaborate. 

An expression of dignity

In the 20th century this art was helped by papier-mâché, though today easily moulded materials such as expanded polystyrene are in use. These materials are also a suitable means for expressing all the colour that these giants display. These genuine monuments turn Valencia into one great open-air museum from the night of the 15th, following the traditional plantá, or setting-up. Today however, given the complicated nature of some structures, the assembly of first effigies can be seen taking place with the aid of cranes up to two weeks before the big week.

Indeed, the fallas are usually several metres high, with the most ambitious reaching 30 metres, a completely astounding size for those who contemplate them standing in the street. They are made up of papier-mâché figures, supported by a wooden catafalque, these being materials that burn readily and without problems. They usually come with signs explaining the significance of each design. 

A year in the making

If all the big cities prepare for their patron saint's day throughout the year, one could say that in Valencia the effort that goes in is even greater. Craftsmen, painters, sculptors and many other professionals are employed over some months to build the gigantic structures that decorate the streets. This responsibility befalls the various comisiones falleras, committees that number almost 400. 

In their turn, the committees organize activities throughout the year to collect funds which keeps the festival alive and ensures they can create a suitably impressive ninot. The fame of these works will be ephemeral, but even so, the effort will be rewarded by seeing Valencia converted into a living exhibition of art and colour for one whole week.

Reduced to ashes

All of this popular imagery will be consumed by the flames on 19 March, the night of the famous cremà : nothing less than the incineration of all the fallas except for one. The winning ninot will receive the honour of escaping the bonfire and will be preserved in the Museo de las Fallas. The other monuments, this year numbering 750 (including children's and adults' efforts), will yield to the power of fire, creating a scene that always leaves locals and visitors dumbstruck.

The art of satire

But this is not just about the technique and the hours of work that have gone into making the figures. Some aspects are hidden behind the jubilation of Las Fallas, which is a festival with strong traditions of critique and freedom of expression. The compositions are often imbued with a satirical character, bringing the topics of the day into the arena (and how!), offering viewpoints that often have a political stance or engagement. This eagerness to to hit a raw nerve has sometimes been threatened, although fortunately the festival's artists close ranks in the face of censure.