by Lorne Wranger
t is always simplistic to try to sum up an entire culture with a single metaphor. However, if you were to choose just one to help understand the Nicaraguan experience, study the folkloric play the Güegüense. Most all Nicaraguans know of it, and understand its implications. If you feel someone is, well, pulling your leg here, say “Señor Güegüense, please,” and they will understand. They may even feel complimented. The name can even be used as a verb, as in “I got Güegüensed” or an adverb, “a real Güegüense maneuver.”
Images of the folkloric play, also called the Macho Ratón, are a presence throughout Nicaragua: statues, paintings, post cards and even beer ads feature its colorful costumes and images. There is a thriving handicrafts industry producing the masks worn by the main characters. Dance troupes give performances at festivals throughout the country.
