Carnival in Irpinia: tradition on parade in costume

The Carnival of Avella represents a moment of strong cultural identity, in which the community renews ancient folk rites that enliven the streets of the town. The protagonists of the festival are three very heartfelt historical performances: "'A Zeza", "I Mesi" and "Il Laccio d'Amore", carried out with passion by the Avellano Folklore Group since 1950 and, later, by the Pro Loco.

The "Zeza" is a form of sung folk theatre, accompanied by traditional instruments such as castanets, triccheballacche and tambourines. Through the use of irony and disguise, it evokes the famous story of Pulcinella and his wife Zeza Viola, engaging the audience in a lively, meaningful performance.

"I Mesi" is a symbolic performance that celebrates the natural cycle of the year, fertility, and the changing of the seasons. The ritual revolves around the Majo, a large tree transported from the mountain forests to the historic centre by the "Sons of the Majo", amidst traditional songs and music, until the final bonfire that burns away the negativity of the past year.

Finally, "Il Laccio d'Amore" is an ancient propitiatory dance linked to the themes of abundance and well-being. In Castelvetere, this tradition evokes a centuries-old rivalry between the communities of the Piazza and the Pianura, now transformed into a festive parade of allegorical floats, made with great skill by local craftsmen and brought to life by music and dance.

During Carnival, Cervinara becomes an open-air stage, where colours, sounds and traditions animate the streets of the town. Among the most eagerly awaited events is the 'Ndrezzata, an ancient war dance dating back to a local dispute in the late 19th century, made unique by the rhythm of the stick blows, the synchronised movements and the strong dramatic tension.

Alongside it, the Quadriglia and, in the heart of Irpinia, the Carnival of Petruro di Forino, which combines dance, theatre and popular tradition, also come to life. On Shrove Tuesday, the Folk Group Ballo o 'Ntreccio, together with the Mascarata, goes through the village visiting families: doors are opened, tables are filled with homemade dishes and local wine, transforming hospitality into a collective ritual.

The most eagerly awaited moment is "o 'ntreccio", an ancient dance to the rhythm of the Tarantella Martiglianese, accompanied by the performance of the "Storia di Carnevale" ("The History of Carnival"), with Pulcinella, the Zitelluccia and comic duels that breathe life into an authentic street theatre.

In Montemarano, Carnival is a true community ritual that begins on 17 January, the day of St Anthony the Abbot, and culminates in the canonical days of the festival, ending with the evocative "Death of Carnival". The absolute star of the show is the Montemaranese tarantella, danced in procession by the Mascarate, led by the Caporabballo, amidst music, colours, confetti and sweets. A tradition with ancient origins, linked to pre-Christian rites and handed down from generation to generation.

The Mascarata of Montoro is not a single event, but a set of four historical events that animate the hamlets of Piazza di Pandola, Borgo, Figlioli and Banzano. Each community preserves its own style, costumes, and characters, keeping the bond with collective memory alive.

In Piazza di Pandola, a procession parades featuring a rich array of symbolic figures, including Pulcinella riding the Old Woman, the gypsy woman, the bear, the notary, the "scaruta" lady (a ragged, grotesque female figure), and Lent. The complexity of the Mascarata and the ritual music that accompanies it have attracted scholars and anthropologists.

In Borgo, "'A Zez co' 'ntreccio" takes centre stage, a processional dance led by the dance leaders (capintrecci), with Pulcinella, the Old Woman and the Bear moving to the rhythm of the tarantella. In Figlioli, the procession passes through several locations and is accompanied by floats that were once boats mounted on bicycles or motorcycles. In Banzano, the dance is led by the dance leaders and a small orchestra, now enriched with modern sounds.

The Montorese Carnival is distinguished by the strong involvement of the community, becoming a moment of social cohesion, reconciliation and sharing. In Pago del Vallo di Lauro, the streets also come alive with parades of folk groups and floats with various themes, including dancers from the Laccio d'Amore and the Quadriglia. The tradition, documented since the 1940s and 1950s, has been codified by local historians such as Angelo Scafuro, who have ensured its transmission to new generations.

In Serino, Carnival becomes a collective ritual that combines dance, popular theatre and social satire. The heart of the festival is the Mascarata, a long processional dance accompanied by the band, with traditional masks and symbolic figures such as the "sacred spring" and, at the end, the "grotesques". Pulcinella, the bride and groom, the barber and the gypsy enliven the streets with irony and colour.

Alongside the Mascarata, Serino preserves the Carnuale Muorto, a theatrical parody that simulates the funeral of Carnival. The ritual involves the mayor, the captain, the carabinieri, the bishop and Lent, offering a biting satire of local vices and powers. The celebration concludes with collective dances and music, before giving way to the silence of Lent.

In the heart of Sannio Irpino, Rotondi experiences Carnival as a collective ritual that combines memory, music and popular theatre. The festival is part of the local identity and finds its highest expression in the Quadriglia and the Zeza, two artistic forms that transform the streets into a living stage.

The Quadriglia is an elegant and rhythmic choral dance, led by a group leader who coordinates dancers in traditional costumes. The Zeza, on the other hand, is a popular theatrical performance composed of acting, singing, music and satire. Pulcinella, Zeza and Don Nicola perform comic sketches and dialogues in rhyme, recounting vices, relationships and everyday life with timeless humour, engaging the audience in a participatory experience.

The tradition, which has its roots in the 18th century, is passed down from generation to generation: families, children and the elderly rehearse texts and steps together and try on costumes, transforming the carnival into a real community-wide cultural workshop.

In Teora, meanwhile, the streets of the village are brought to life each year by the return of the "Squacqualacchiun", grotesque figures that recall the area's rural and rebellious past. They wear canvas sacks, worn jackets and hoods that hide their faces, carrying sticks, pine branches and large cowbells that ring out in the alleyways.

They first appear on 17 January, on the feast day of Saint Anthony, knocking on doors to obtain food, wine or a few coins: those who give are rewarded with peace, those who refuse risk small, symbolic retribution. The final dance of the Squacqualacchiun brings the town centre to life around the bonfire and the main fountain, in a ritual that combines the sacred, the profane and popular magic.

This mask originated from an ancient peasant rebellion: during the Kingdom of the Two Sicilies, young people disguised themselves to symbolically challenge their masters and claim their dignity, transforming disguise into an instrument of protest and collective identity.