El DIABLO
ANDA SUELTO

The “Diablos Danzantes de Naiguatá” tradition is a Venezuelan cultural manifestation that has stood the test of time, transforming and adapting to contemporary realities. This ritual, loaded with symbolism and deeply rooted in the identity of the Naiguatá community, not only represents the eternal struggle of good against evil, but has also become a space for intergenerational cultural renewal. 



Gabriel Pinto (1998, Caracas), a young Venezuelan photographer and researcher, has immersed himself in this universe to capture with his lens the stories, faces and realities of the contemporary participants of this tradition.



Pinto focuses on ethnographic research and photography, exploring the cultural expressions of his homeland with a contemporary gaze that dialogues with the past. His fascination with the Diablos Danzantes de Naiguatá began with the story of Ciriaco Iriarte, a cultural figure and custodian of this tradition, whose life and work were marked by a commitment to the preservation and enrichment of this ritual. His legacy endures not only in the collective memory of his people, but also in the new generations of dancing devils.

Through his exhibition, which features photographs printed and dye-sublimated on mesh veils, Pinto not only documents a cultural manifestation, but also invites the viewer to reflect on identity, legacy and the role of youth in a complex social and political context. His work is not simply a visual documentation; it is a tribute to culture and a reflection of the struggle to keep traditions alive in a country facing constant challenges.



The tradition of the Diablos Danzantes has its roots in colonial times and is linked to the celebration of Corpus Christi, where the devils, through a procession and dance, pay tribute to the Holy Sacrament. Originally imposed by Jesuit and Franciscan missionaries, the dance became a unique cultural manifestation in Venezuela, with each confraternity ("cofradía") developing its own codes and forms of expression. In Naiguatá, the tradition has adopted an inclusive and dynamic character, being the only cofradía that allows the participation of women and children in its dance. This change was driven by the vision of Ciriaco Iriarte, who understood the importance of opening the doors of the cofradía to keep the tradition alive.



In a context where many traditions struggle to survive, the active participation of new generations has become the pillar that sustains and renews the practice. Young people, motivated as much by religious promises as by a sense of identity and belonging, have found in the dance of the devils a way to connect with their heritage and express their creativity. The costumes, hand-painted by the dancers themselves, become canvases where each individual embodies his or her history and beliefs, blending traditional symbols with contemporary elements. This process of creation is, in itself, an act of devotion and resistance, a “payment of promise” that goes beyond the religious to become a living testimony of popular culture.



Gabriel Pinto, aware of this dynamic, centers his artistic focus on the youth who today form part of the Diablos Danzantes de Naiguatá. Through his photography, Pinto captures the interaction between the traditional and the modern, showing how the youth have incorporated contemporary elements into their costumes and masks, such as images of mass consumption and characters from popular culture, which coexist with religious motifs. These details, far from undermining tradition, enrich it and adapt it to the realities of the present, illustrating that popular culture is in constant evolution.



Pinto does not limit himself to documenting; his images capture the movement, energy and mystique of the dancing devils, creating an immersive experience that transcends the visual. In his photographs, dye-sublimated on mesh that mimics the veils used by the devils, the artist achieves a symbolic connection between image and ritual: he invites the viewer to look at the devils as if seeing them through the veil, a play of shadows and transparencies that suggests the complexity of identity and tradition. The mesh acts as a barrier that simultaneously conceals and reveals, alluding to the way the devils see us from their veils and how we, as observers, try to penetrate that cloak of mystery.



Each photograph is carefully composed to highlight the uniqueness of each dancer and their costume. Pinto focuses his lens on the details: the bells ringing with each movement, the ribbons fluttering in the wind, the faces partially hidden behind masks that seem to come to life. This attention to detail underscores the symbolic richness of each element of the dance.



The importance of Pinto's work lies in his ability to connect the past with the present, creating a bridge between ancestral knowledge and contemporary expressions. In a country where historical memory is under threat, Pinto's photographs act as a reminder of the strength of popular culture and underscore the importance of youth as both bearers of tradition and agents of change. In them, the Diablos Danzantes become a powerful metaphor for the youth's struggle for renewal and change.



Gabriel Pinto's exhibition not only celebrates a Venezuelan cultural manifestation; it also serves as a testament to the resilience of youth in times of change. Each photograph is a tribute to the cultural richness of Venezuela and the ability of its youth to adapt, innovate and keep their heritage alive.