Catholic Church

Black amber, all painted, white foam…
The rain sings, summer is over.
White foam… May flower.

“Flor de Mayo”, Otilio Galíndez

The Chakana path,
It is up and down, inside and out…

Water is synonymous with life, and rain is perhaps the metaphor through which Mother Earth conveys the importance of preserving, nurturing, and multiplying life on this planet. For the peoples of the South, May is a turning point. It brings the rainfall, and thus abundance is renewed. The wet season begins in these torrid regions of exuberant contrasts and excessive beauty. Everything sprouts, blooms, and matures.

In May, the night sky in the South allows us to behold the zenith of a constellation that holds immense value in the ancestral worldview of our peoples: the Southern Cross. This fixed constellation consists of Alpha Crucis, Gamma Crucis, Beta Crucis, Delta Crucis, and a fifth star, Epsilon Crucis, which, although not part of the main points, serves to distinguish it from the “False Cross.” 

Our Andean ancestry, which exerts a deep influence on all the Indigenous peoples of Abya Yala, identifies this constellation by the name Chakana, which can be translated as a ladder or bridge between the earthly and spiritual worlds. It means complementarity, harmony, and purpose, as well as a path for returning to the core. The Chakana is the organizational center of the Andean world and its entire sphere of influence, which is why it is the focus of numerous and diverse rituals, ceremonies, offerings, and festivals throughout these territories. 

From the moment of their arrival, the Spanish conquistadors were struck by the symbolic power, veneration, and cultural identity of the peoples of Abya Yala with the Chakana. This is why they suppressed all traditional knowledge and ritual symbols, imposing their Eurocentric worldview in the clearest demonstration of colonial epistemicide. Temples, codices, and sages were demolished, burned, tortured, and martyred in the name of Christianity, which came to replace the Southern Cross, a symbol of knowledge and life, with the Catholic Cross, as a condensed symbol of pain, domination, sacrifice, death, and the promise of resurrection.

In Venezuela, a series of daytime and nighttime ritual activities persist, drawing young people and adults alike, in cities and rural areas alike. Afro-Venezuelan peoples especially cherish these traditions. The celebrations of the Cruz de Mayo, San Isidro, San Pascual Bailón, Corpus Christi, San Antonio, San Juan, and San Pedro, among others, escape the Catholic liturgical calendar that continues to try to assimilate them. They are celebrations framed within those exuberant contrasts of excessive beauty that cause everything to sprout, bloom, and mature. These are the days in which the Venezuelan people celebrate the cycle of life and for which they have created music, dances, drinks, foods, costumes, and poetry that have transcended both the Catholic Church and its Inquisition as well as civil and military power, in a testament to the most committed re-existence.

Lighting the altar candles

Wakes (“velorios”) are community gatherings organized to honor the deceased, a saint, the Virgin Mary, the Baby Jesus, or the Cross. These gatherings are held to fulfill a vow or out of devotion, and they feature prayers, drinks, food, poetry, singing, and dancing.

The velorio is a popular tradition that goes beyond the institutional framework of the Catholic Church. In fact, as early as the Synodal Constitutions of the Bishopric of Venezuela and Santiago de León de Caracas of 1687, published by Bishop Diego de Baños y Sotomayor, these activities, which “attract large crowds” and in which “many indecencies and offenses against God are committed,” were prohibited under penalty of “Major Excommunication.” Certainly, the Church seized on these practices of profane worship of the madero (the wood) to imbue them with Christian meaning.

At the center of the velorio dedicated to the Cruz de Mayo (“May Cross”) stands an altar with a main cross and two smaller ones. These are crosses without the image of Christ, “dressed” with cloth, paper, and multicolored flowers. The altar and its surroundings are also decorated in harmony with the crosses, and the offerings of candles, fruits, food, and drinks are arranged in such a way as to celebrate the abundance of a countryside that turns green again at this time of year.

The church’s calendar states that May 3 marks the celebration of “The Finding of the Cross.” Therefore, on the night of May 2, vigils begin in all the eastern states, as well as in Guárico, Lara, Cojedes, Aragua, Yaracuy, Carabobo, Barinas, Apure, Portuguesa, Miranda, Falcón, and in the city of Caracas. People give thanks for health and the fertility of the land. In the central coastal region, where Afro-Venezuelan communities are present, sirenas and fulías are sung. In the llanos, three-voice tonos are performed. In the east, the rhythms include galerones, malagueñas, fulías, jotas, and punto y llanto. The decimistas (poets) make offerings in a circular formation and vie for the spotlight as the musicians and singers perform.

Dancing up and down in a cross 

The Dancing Devils of Corpus Christi dance by forming a cross on the ground, to which they add new crosses with every turn, spiral, backward step, and leap. Each movement has a specific meaning and timing because the goal is to maintain order between the upper and lower realms, between complementary forces that must harmonize. Or, put more simply, to ensure that good prevails over evil.

The Incarnation of Christ in the Eucharist is a movable feast that occurs nine Thursdays after Holy Thursday. There are references to its celebration dating back to the third century in the Roman Empire. In 1350, it began to be celebrated in Barcelona with processions that reenacted the Devil’s defeat by the power of the Cross. In Venezuela –specifically in Ocumare de La Costa –there is evidence of Dancing Devils dating back to 1621, and although masked devils were present in many places, this practice survived only in the central region as a magical-religious ritual in the states of Aragua, Carabobo, Cojedes, Guárico, Miranda, and La Guaira.

The people, embodying the Devil, do not view the Evil One as a figure but as a concept. He is simply a force opposed to God. A revelrous, playful, and imperfect being. However, the promesero, dressed in colorful pants and a shirt, wearing masks of different sizes, shapes, and shades, which bear no resemblance to the European portrayal of the devil, protects himself with prayers, scapulars, bells, whips, and crosses that he carries as part of his attire. But his greatest protection is the insistent sign of the Cross he traces with the movements of his foot and the hand holding a maraca.

The cuatro or the caja (snare drum) are the instruments that accompany this celebration, depending on the community. Only in the town of Chuao are both used, though at different times. There is no singing, and the rhythms are performed with different beats that vary in intensity and speed. There are eleven Afro-Venezuelan lay brotherhoods or cofradías recognized as Intangible Cultural Heritage of Humanity by UNESCO, and each has a distinct musical identity linked to its spiritual environment.

Beating the drums

Pipas, quitiplás, culos ‘e puya, minas, curbatas, cumacos, and maracas are the essential instruments with which the Venezuelan people celebrate the arrival of San Juan (John the Baptist), the most popular Catholic festival in seventeenth-century Spain that was brought over to preserve the identity of the conquistadors while simultaneously subjugating the Indigenous peoples and later the kidnapped and enslaved African peoples. Coinciding with the second cocoa harvest in these territories, the birth of John the Baptist, exactly six months after Jesus, became the figure of greatest devotion on the major slave-owning plantations along our country’s northern coast. 

San Juan is regarded by the people as a saint who charges for his miracles. He’s drinker of aguardiente, a dancer, and a reveler, which is why there is both a popular celebration and an institutional, Catholic one. It must be remembered that Black people were barred from entering the church until well into the nineteenth century. Today, depending on the town and the priest, drums may or may not be allowed inside the church. In any case, the popular celebration of San Juan involves dancing, singing, drumming, drinks, and food –all meant to reclaim a freedom that was historically limited to an extreme. For this reason, it was a celebration that was persecuted and punished with excommunication during the colonial period, as we saw in the above mentioned Synodal Constitutions.

The San Juan festival cycle begins on June 1 with the “Repique de San Juan.” Families, communities, and various organizations meet in advance to plan and assign responsibilities. It is a colorful celebration reflected in the participants’ attire, flags, and scarves. Women’s participation is essential, particularly in the singing that takes place during the sirenas, the sangueo, and the golpes. These songs accompany the individual dancing of those carrying the flags and the saint in the sangueo, which is part of a group dance, but also the dancing of individual couples and, to a lesser extent, of linked couples.

The songs to San Juan are, above all, responsorial, alternating between soloist and choir, often improvised. Each drum has its own “tonada” or way of singing it, and in each locality, even if the same drum is used, the way of playing it and the style of singing this or that beat may vary. They follow the African tradition of three-drum ensembles –interdependent and complementary –where polyrhythm is enhanced by the timbral qualities of each drum, with the lowest-pitched one taking the “lead,” providing the beats and embellishments. “The Saint is in the drum,” it is said, affirming the enduring relevance of the worldview of the Indigenous peoples of West Africa.

¡Arriba negro!

With this call, a singer signals to his partner that it is their turn to sing, because in the bella, the galerón, and the seis figureao, consecutive duets of singers in two different voices (a third apart) take turns. Meanwhile, in the yiyivamos, the juruminga, the perrendenga, and the poco a poco, one singer improvises verses and a chorus responds. The so-called Sones de Negros are made up of seven songs. However, it all begins with La Salve, a solemn song in which permission and a blessing are sought from the saint to begin the dance; once this is finished, the battle ensues, sung in two-part harmony and “danced” by two men with traditional stick-fighting. 

The dance in the bella and galerón consists of male-female couples who participate one after another in a free-form manner. The seis figureao features a choreographed dance by three couples performing intricate, intertwined movements and turns. In the yiyivamos, juruminga, perrendenga, and poco a poco, independent couples dance, executing figures and movements as directed by the singer. San Antonio presides over an altar beautifully adorned with flowers, fruits, candles, clubs, crosses, bread, and other foods. Musicians and singers stand facing the altar, and each time the dancers enter the circle, they bow to the saint as a sign of respect and gratitude.

The Baile de Negros or Sones de Negros may have originated in the vicinity of El Tocuyo, in the fertile valley irrigated by the Tocuyo river, where the sugarcane-producing slave plantations were located. Its characteristic sound comes from an ensemble of stringed instruments related to the Baroque and Renaissance guitar, known as the cinco, medio cinco, requinto, and cuatro. The master or most experienced player plays the cinco. The timbral variety of the instruments and the ornamentation of the requinto give this instrumental ensemble an unmistakable texture. 

In front of the saint stands the Tamunango or Tambor de Negro, a fundamental instrument constructed from a long, hollowed-out log, sized so that one musician can sit on it and play with their hands on its single head, while another strikes the wooden body with the drumsticks. The rest of the musicians are arranged around this instrument. A double-headed drum, a tambourine, and maracas complete this celebration, which is most popular in the states of Lara, Falcón, Yaracuy, and Portuguesa. Throughout June, with a focus on the 13th, these communities organize this traditional dance in homes, squares, streets, and fields -a celebration that cannot end without a sancocho (wood fire, community-prepared stew)  soup) and a glass of cocuy de penca (agave-derived drink).

Stomp on the boss!

The San Pedro festival is perhaps one of the most complex. Certainly, it is part of the cycle of life celebrations, featuring music, dance, food, and drink specially prepared as an offering to the saint. But as a kind of narrative that highlights Peter’s benevolence, there is the story of the enslaved María Ignacia, who, desperate over her daughter Rosa Ignacia’s illness, offered the deity an annual celebration. Once the miracle was fulfilled, María Ignacia danced until the last day of her life, and on her deathbed asked her husband to keep the promise. That is why a man in drag, carrying a rag doll in his arms, reenacts today the promise that María Ignacia’s husband made to his wife.

The cuatro and maracas are the accompanying instruments, and there may be many of them providing harmonic and rhythmic support to a soloist, which are answered by a chorus from the audience. The latter either joins in or simply watches this parranda as it winds its way through the streets of Guatire and Guarenas (outskirts of Caracas), starting from the church and making strategic stops at the homes of the revelers, the headquarters of the cofradías, and other points of interest.

Although there is no dramatized performance, during the procession there are characters in costume with carefully assigned roles, performing specific actions to convey the story of the miracle that was granted.

It is a distinctly joyful celebration. In the lyrics, music, and dance, there is a feeling of gratitude for favors received. This festive nature does not mean a loss of conscience. The Parranda de San Pedro carries a very powerful symbolic weight that recalls the use of irony and theatrics as a tool of clandestine insurgency, allowing people to denounce oppression and express their own identity as human dignity. When they sing: “With the cotiza [sandal], stomp the earth / turn it to dust without mercy…” and suddenly switch earth (“terrón”) for “boss” (“patrón”), it becomes perfectly clear what they are talking about.

The candles remain lit in the collective memory altar and the music continues to sound. After following the path of the Southern Cross and the beats of existence, the Chakana route has another stop. In the upcoming delivery of this column, we will go deep into the heart of these festivities in their wonderful displays of cyclicity, complementarity, and interconnectedness.

Fabiola José is a Venezuelan singer. She has performed in countries across South America, Africa, Europe, and Asia. Her singles and albums are available on all digital platforms. She hosted and produced “Cantante y Sonante” for Radio Nacional de Venezuela. In 2018–2019, she created a series of videos for social media, published on her YouTube channel #HechoEnCasa. She holds a bachelor’s degree in Music from IUDEM, Caracas (2005); specialized under Maestro Tom Krause in Spain (2007); and an M.A. in Arts and Cultures of the South from UNEARTE, Venezuela (2020).

Fidel Barbarito is a Venezuelan musician and researcher, with a bachelor’s and master’s degrees in music and history, respectively. He teaches in the undergraduate and graduate programs at the National Experimental University of the Arts (UNEARTE). Together with Fabiola José, he promotes several musical projects aimed at disseminating traditional folk repertoires, integrating them with contemporary compositions inspired by these sounds. Joropo llanero. Parranda de reexistencia is one of his published essays.

The views expressed in this article are the authors’ own and do not necessarily reflect those of the Venezuelanalysis editorial staff.

Visitors to one Italian destination say it’s “incredible”, but it was once a place shunned by many

Italy is a beautiful country with each province very different from the next – and each Italian area has its own identity and culture. While holidaymakers typically flock to the Amalfi Coast, cities such as Florence or Rome or Lake Garda or Lake Como, there’s a lesser-known spot that has left visitors speechless with delight.

Once famous for being the ‘shame of Italy’, Matera, a city based high on a rocktop in the southern Basilicata is now a luxurious tourist getaway. Here, a collection of old cave dwellings forged into the mountains in an area called Sassi offer a peaceful inland holiday infused with history.

The cave dwellings were evacuated by the Italian government in the 1950s, hailed as slums at the time with poor living conditions. Thousands of residents were transferred into modern housing and Prime Minister Alcide De Gasperi, of the time, described Matera as a “national disgrace”.

It’s likely that not all the locals wanted to leave their Matera homes at the time, but the spot was deemed a health hazard with no ample sewage system or electricity – and it was poverty-stricken.

One former Matera resident once described living conditions as “brutal,” with “families of maybe nine or 10 children, sleeping next to mules and pigs”.

“We were dying of hunger”, said Luigi Plasmati recalling his family’s life in Matera several years ago, when he was 89-years-old.

These days things have really turned around – and several Airbnb cave-style accommodation stays are described as “exceptional” by those who visit.

Sassi di Matera covers two districts, with the city of Matera situated on a mountain top.

One TripAdvisor review by a guest staying in Pietragialla, which looks across to the city of Matera, described their cave stay as an “incredible experience”.

The cave stay reviewer wrote: “I am speechless for how good we felt. It was an incredible experience and everything was unbelievable. The room is fantastic. The bathroom is the best bathroom I’ve ever been and the bath tub is from another planet. But the most incredible thing is the silence.”

The visitor went on to describe “pure sleep” they experienced in the cave due to the peacefulness and darkness as the cave has “no windows”.

Breakfast, they went on, was already prepared the previous night so you “can have it at any time” and it included fresh fruit, juices, marmalades, fresh local bread, almonds and even almond milk.

The TripAdvisor reviewer added: “Once you leave the room you have in front of you the whole city centre, it looks like a fairy tale. Pietragialla is an experience that needs to be done once in life at least.”

The Sassi district boasts museums such as the Cave House in the Sassi of Matera, which show visitors what peasant life was like in the region just a few decades ago.

There are also churches made of rock that date back to the 13th-century, with St. Lucia alle Malve (a Catholic church in Matera) being described as the “most beautiful” with its ancient mosaics dating back centuries.

Addressing reporters on a recent flight to Algeria, Pope Leo XIV invoked the Gospel, called himself a peacemaker and pledged to keep speaking out on behalf of the downtrodden.

“Too many people are suffering in the world today,” he said. “Too many innocent people are being killed, and I think someone has to stand up.”

Pontiffs have a tradition of weighing in on global strife, and Leo’s words were in keeping with long-standing church teaching. Appearing in front of reporters in this fashion was also not new: Pope John Paul II began taking questions from journalists on the papal plane in the 1970s.

But the first American pope was in fact wading into an unprecedented political tempest — responding to a series of broadsides from President Trump that drew Leo into debates over the war with Iran, immigration policies and more, all while Catholics in the U.S. and around the world looked on.

Missionaries from Austin, Texas, gather for prayer in St. Peter’s Square on May 11, 2025.

(Marco Di Lauro / Getty Images)

With no permanent peace deal in sight to end the war, two of Trump’s top lieutenants — Vice President JD Vance and Secretary of State Marco Rubio, both Catholics and potential 2028 presidential candidates — have also been pulled into the fray. On Thursday, Rubio met Pope Leo at the Vatican in what he said was a long-planned diplomatic visit. Next month, Vance will release a memoir, “Communion: Finding My Way Back to Faith,” detailing his 2019 conversion to Catholicism.

Trump’s invective has not abated, even in the week his chief diplomat met the pontiff. Ahead of Rubio’s visit, Trump repeated his claim that Leo was “just fine” with Iran developing a nuclear weapon. In response, Leo said that his critics should go after him “truthfully,” noting that the Catholic Church has spoken out against all nuclear weapons.

Against the backdrop of this sparring, Rubio sought to downplay the drama after his official visit to the Holy See, which lasted about two hours. On X, he said the meeting with Leo focused on their “shared commitment to promoting peace and human dignity.”

The episode has revealed the unique power Leo holds on the U.S. stage, with his inherent understanding of the country’s politics and an ability to deliver his message in an accent that at times reveals his Chicago roots.

“He’s speaking in English and he’s American,” said Father James Martin, a Jesuit priest and author, most recently of the memoir “Work in Progress.” “People can’t dismiss him as not understanding the United States.”

For weeks, Leo has been asked to respond to a cascade of insults from Trump, including accusations that he is “weak on crime,” that he was chosen as pope because of Trump, and that the leader of the world’s 1.4 billion Catholics should “get his act together.”

In measured tones, Leo has repeatedly said he does not want to fight with the president. He counters that he is merely preaching the Gospel. On that flight in April, the pope told journalists: “I do not look at my role as being political, a politician. I don’t want to get into a debate with him.”

He added: “I will continue to speak out loudly, looking to promote peace, promoting dialogue and multilateral relationships.”

He may not be a politician, but Leo’s preaching, ranging from Iran to immigration and global warming, has touched a nerve with Trump. In the U.S., Catholics often serve as a powerful swing vote and hold a wide range of views on those issues. But even in a time of deep division and political malaise, enthusiasm for the pontiff, born and raised in the Chicago area, is hard to dismiss.

Leo’s ascendancy comes as engagement with the Catholic Church appears to be growing in the United States. Though comprehensive data are hard to come by, parishes are reporting renewed interest.

Mark Gray, a senior research associate at the Center for Applied Research in the Apostolate at Georgetown University, said there was evidence of an increase in baptisms, a trend that appeared to predate Leo’s election as pope last May.

Some of the new American converts lean more conservative, experts said, part of a broader rise in traditionalism. Amid tensions over whether the church should focus more on traditional issues of morality, such as abortion and marriage, or global concerns like war and migration, Leo has stressed that all are welcome and that he wants the church to function as a big tent.

Making history

U.S. presidents have long sought to court the pope, mindful of the country’s sizable Catholic population and its potential as a swing vote in elections. Woodrow Wilson was the first president to meet with the pope, in 1919, during talks after the end of World War I. Since Dwight Eisenhower made a trip to Rome in 1959, every president has traveled to meet the pope, some more than once.

That includes Trump, who traveled to see Pope Francis in 2017, accompanied by First Lady Melania Trump and his daughter Ivanka Trump. He also attended Francis’ funeral in 2025.

Asked if there was any precedent for Trump’s clash with the pope, Steven Millies, a professor of public theology at Catholic Theological Union in Chicago, invoked an English king who changed the course of church history: “Henry VIII invites a comparison,” he said. Henry rejected Catholicism in the 1500s and founded a new church in order to ratify a divorce rejected by the pope.

Though Trump — who is not Catholic — has not suggested any such schism, he certainly appears to have discarded most niceties. The president has not apologized for any of his comments, though he did, after widespread backlash, take down a social media post that appeared to depict him as Christ.

Trump is constitutionally blocked from seeking another term, so picking a fight with Pope Leo may not have lasting political implications for him. But it’s a different story for Vance and Rubio, both of whom may need to appeal to the country’s Catholic voters to further their ambitions.

In the 2024 election, the Catholic vote tilted more decisively to the right, with 55% supporting Trump compared with 43% for Kamala Harris, according to the Pew Research Center. Four years earlier, Catholics were evenly divided, with 50% supporting Joe Biden, a practicing Catholic, and 49% backing Trump.

Rubio noted as he headed to Rome that “obviously we had some stuff that happened” between the White House and the Vatican. Vance, who has frequently expressed his support for the pope but is also known for his often-punchy defense of the president’s positions, drew some derision in April when he was asked at a conference about Trump’s comments and suggested that Leo should “be careful when he talks about matters of theology.”

Pope Leo XIV exchanges gifts with U.S. Secretary of State Marco Rubio in the pope’s private library at the Vatican on Thursday.

(Vatican Media via Associated Press)

He later modified his tone, posting on X: “Pope Leo preaches the gospel, as he should, and that will inevitably mean he offers his opinions on the moral issues of the day. The President — and the entire administration — work to apply those moral principles in a messy world. He will be in our prayers, and I hope that we’ll be in his.”

Still, the rift could cloud the upcoming release of Vance’s memoir, overshadowing a book meant to burnish a potential 2028 bid with questions about Trump’s antagonism toward the pontiff.

Two Catholics have served as president — Biden and John F. Kennedy. During an era of stronger anti-Catholic sentiment, Kennedy famously gave a speech as a candidate emphasizing the separation of church and state. Biden was more openly devout, attending Mass every weekend and quoting Catholic hymns in his speeches. Vance is the second Catholic vice president, following Biden’s two terms as President Obama’s deputy.

In a statement, White House spokeswoman Taylor Rogers said Trump’s social policies were a boon for U.S. Catholics and alluded to electoral politics without mentioning the pope. “President Trump has great respect for the more than one billion Catholics around the world, especially the Catholic Americans who helped power his landslide election victory in 2024,” she said.

The Midwestern pontiff

It’s been a year since the man born Robert Prevost in 1955 stepped out onto the Vatican balcony as pope, a role that predates the United States by nearly 2,000 years. The first American pope’s compatriots quickly seized on his Midwestern upbringing (he’s a White Sox fan) and relatable family dynamics (one of his two brothers supports Trump). In a nod to his Chicago roots, an Iowa-based clothing store, Raygun, began selling a T-shirt bearing the slogan “Da Pope.”

Leo also served for years as Bishop of Chiclayo in Peru, building a global profile that helped propel him to the papacy. It hasn’t stopped Chicagoans from claiming him as one of their own — even showing up at the Vatican with Chicago-style deep-dish pizza.

Known as “Bob” before becoming Pope Leo, the new pontiff chose a name that clearly signaled his intentions as a leader, invoking memories of Leo XIII, an intellectual considered a pioneer of modern Catholic social teaching and an advocate for workers. Millies said the choice signaled that Leo wants to refocus on justice and care for others as well as the rising threats around the globe. Leo has cited artificial intelligence as one of those challenges.

With a more low-key presence than his predecessor, Pope Francis, some observers have labeled Leo as quiet. But as his tug of war with Trump shows, his messages are frequently not subtle. In fact, his reserved style may be a reflection of his Midwestern roots.

Pope Leo XIV presides over the Prayer Vigil for Peace at St. Peter’s Basilica, on April 11.

(Antonio Masiello / Getty Images)

This mild manner comes across in public statements that nonetheless make a lasting impact.

Last fall, Leo questioned Trump’s decision to rename the Department of Defense as the Department of War. “Let us hope it is just a way of speaking,” he said. More recently, he took aim at the president’s preferred method of communication, his social media site Truth Social. Asked about Trump’s vitriol on the platform, Leo said: “It’s ironic — the name of the site itself. Say no more.”

Perhaps no message has been clearer than the pope’s decision on how to spend the Fourth of July this year. For the nation’s 250th birthday, as Trump hosts a giant celebration, the pope will be an ocean away. His plans? Visiting Lampedusa, an Italian island that serves as a stop for migrants traveling to Europe.

Lucey writes for Bloomberg.