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bic nationalistic edge 106 writers variously reflecting this tendency included josé maría ramos mejía manuel gálvez rafael obligado josé ingenieros miguel cané and above all leopoldo lugones and ricardo güiraldes 107 their answer was to go back to values that could be attributed to the old time gaucho however the gaucho they chose was not the one who cultivated the land but the one who galloped across it gaucho reenactment san antonio de areco for lugones 1913 to discern a people s true character one had to read its epic poetry and martín fierro was the argentine epic poem par excellence far from being a barbarian the gaucho was the hero who did what the spanish empire could not civilise the pampa by subjugating the indian to be a gaucho demanded composure courage ingenuity meditation sobriety vigour all this made him a free man but in that case asked lugones why did the gaucho disappear because together with his virtues he had inherited two defects from his indian and spanish ancestors laziness and pessimism that he vanished is good for the country because his indian blood contained an inferior element lugones lectures where he canonised martín fierro with its quarreling gaucho protagonist had official support the president of the republic and his cabinet attended them 108 as did prominent members of the traditional ruling classes 109 however wrote a mexican scholar in exalting this gaucho lugones and others were not recreating a real historical character they were weaving a nationalist myth for political purposes 110 111 jorge luis borges thought their choice of gaucho was a poor role model for argentines the icon of the man on horseback is secretly pathetic under attila scourge of god under genghis khan under timurlane he destroys and founds vast realms but these are fleeting it is from the cultivator we get the word culture from cities civilisation but this horseman is a passing storm in this regard capelle observes that the greeks the romans the germans were tillers of the soil 112 wrote musicologist melanie plesch the invention of national types as is well known involves a fair amount of idealization and fantasy but the argentine case presents an idiosyncratic feature the mythical gaucho seems to have been drawn as an inverted image of the immigrant thus the immigrant s rapacity was contrasted with the gaucho s disinterestedness stoicism and spiritual bohemianism characteristics that had previously been conceptualized as his proverbial laziness and lack of industry for instance playing on the guitar which had previously been regarded as a symptom of idleness was now seen as an expression of the gaucho s soul 113 shrine to gauchito gil possibly a bandit killed by police a cult prudently tolerated by the church the iconic gaucho gained traction in popular culture because he appealed to diverse social groups displaced rural workers european immigrants anxious to assimilate traditional ruling classes wanting to affirm their own legitimacy 114 at a time when the elite was extolling argentina as a white country a fourth group those who possessed dark skins felt validated by the gaucho s elevation seeing that his non white ancestry was too well known to be concealed 115 political factions have competed to appropriate the gaucho icon and interpret him their way in a review of ezequiel adamovsky s el gaucho indómito de martín fierro a perón el emblema imposible de una nación desgarrada the indomitable gaucho from martín fierro to perón the impossible emblem of a torn nation raanan rein wrote the argentine military dictatorship used the figure of the gaucho in its propaganda to promote the 1978 fifa world cup games and the image of argentina as a peaceful and orderly country at the same time the montoneros guerrilla group used the figure of the gaucho as a symbol of a rebel tradition since the early days of the country s independence this is just one example of the use and abuse for political purposes of the mythical contradictory figure of the gaucho an integral part of the argentine national identity 116 today a popular movement celebrates gaucho culture main article gaucho culture brazil edit a semana farroupilha parade in rio grande do sul the gaúcho has been mythified too not in reaction to massive immigration as in argentina but to give the state a regional identity 117 the main celebration is the semana farroupilha a week of festivities mass horseback parades churrasco rodeos and dances it refers to the ragamuffin war 1835 45 an elite led separatist war against the brazilian empire politicians have reinterpreted it as democratic movement hence wrote luciano bornholdt the myth of the gaúcho was carefully constructed and he was portrayed not as a poor herder living a dangerous and dirty life but as something much more appealing he was praised as free yet honest and loyal to his patron a skilled man even a hero in the official accounts of regional wars 118 the movimento tradicionalista gaúcho mtg has an active participation of two million people and claims to be the largest popular culture movement in the western world essentially urban rooted in nostalgia for rural life the mtg fosters gaúcho culture there are 2 000 centres for gaúcho traditions not only in the state but elsewhere even los angeles and osaka japan gaúcho products include television and radio programs articles books dance halls performers records theme restaurants and clothing the movement was founded by intellectuals apparently sons of downwardly mobile small landowners who had moved to the cities to study since gaúcho culture was seen as male only later were women invited to participate though the real gaúchos of history lived in the campanha plains region some of the first to join were of german or italian ethnicity from outside that area a social class who had idealised the gaúcho rancher as a type superior to themselves 119 horsemanship edit criollo horses were small but tough from antonio gazzano s el tambo de quirino 1873 oil on canvas detail fortabat art collection notice gaucho s facón dagger sword the overseers 1861 a careful depiction by prilidiano pueyrredón they scarcely know how to walk they remain on horseback though the conversation may last several hours 120 for many an essential attribute of a gaucho is that he is a skilled horseman scottish physician and botanist david christison noted in 1882 he has taken his first lessons in riding before he is well able to walk 121 without a horse the gaucho himself felt unmanned during the wars of the 19th century in the southern cone the cavalries on all sides were composed almost entirely of gauchos in argentina gaucho armies such as that of martín miguel de güemes slowed spanish advances furthermore many caudillos relied on gaucho armies to control the argentine provinces the naturalist william henry hudson who was born on the pampas of buenos aires province recorded that the gauchos of his childhood used to say that a man without a horse was a man without legs 122 he described meeting a blind gaucho who was obliged to beg for his food yet behaved with dignity and went about on horseback 123 richard w slatta the author of a scholarly work about gauchos k notes that the gaucho used horses to collect mark drive or tame cattle to draw fishing nets to hunt ostriches to snare partridges to draw well water and even with the help of his friends to ride to his own burial 124 by reputation the quintessential gaucho caudillo juan manuel de rosas could throw his hat on the ground and scoop it up while galloping his horse without touching the saddle with his hand 125 for the gaucho the horse was absolutely essential to his survival for said hudson he must every day traverse vast distances see quickly judge rapidly be ready at all times to encounter hunger and fatigue violent changes of temperature great and sudden perils 126 a popular copla was mi caballo y mi mujer viajaron para salta el caballo que se vuelva mi mujer que no me hace falta 127 translation my horse and my woman went off to salta may the horse return for i don t need my woman it was the gaucho s passion to own all his steeds in matching colours 128 hudson recalled the gaucho from the poorest worker on horseback to the largest owner of lands and cattle has or had in those days a fancy for having all his riding horses of one colour every man as a rule had his tropilla his own half a dozen or a dozen or more saddle horses and he would have them all as nearly alike as possible so that one man had chestnuts another browns bays silver or iron greys duns fawns cream noses or blacks or whites or piebalds 129 the caudillo chacho peñaloza described the low point of his life as in chile and on foot en chile y a pie 130 extreme equestrianship edit jineteada a modern sport akin to bronco riding he must stay on for 15 seconds real gaucho sports could be much more dangerous richard w slatta collected instances of extreme equestrian sports practiced by 19th century gauchos to perform these required and developed skills and courage that helped gauchos to survive on the pampas crowding two men would spur their horses to shove against each other each man s object being to drive his opponent to a particular place in a variant they raced along a narrow track if one man could crowd the other off it he won cinchada an equestrian tug of war tail to tail the rope was tied to their saddles this contest grew out of the need for mounts strong enough to pull against a wild lassoed steer pechando two horsemen galloping at full speed charged each other head on the shock of the collision tumbled the men and perhaps the horses the object was to recover and charge again and again until prevented by exhaustion or injury pechando provided an opportunity for a gaucho to exhibit his courage and indifference to death or injury jumping the bar a bar was placed above a corral gate with just enough headroom for a horse to pass a gaucho galloped through and as he did he jumped over the bar and landed back in the saddle maroma a variant in which the gaucho jumped from the bar onto the back of a racing wild horse or wild steer he had to stay on until the horse was broken or the steer was killed recado the horseman galloped across the pampa while he undid his recado a multi layered saddle dropping the pieces as he went he had to go back snatch up the pieces and reassemble his saddle all the time riding at full speed pialar a particularly dangerous sport one man galloped through a group of gauchos who lassoed his horse s legs this threw the horse but the man had to land on his feet holding the reins this skill was useful for survival because the pampa was riddled with vizcacha burrows that threw horses loss of one s mount was probable death for a solitary rider gauchos routinely maltreated their horses since these were plentiful even a poor gaucho usually had a tropilla of perhaps a dozen most of those sports were banned by the elite 131 la sortija carrying a lance a galloping horseman had to impale a small ring dangling from a thread introduced from spain this sport is still practiced in spanish speaking countries pato a game resembling rugby football on horseback but ranging over miles of terrain banned in its original form which was played with a live duck sewed into a rawhide basket 132 pato was gentrified and is now argentina s national sport 133 the higher skills were lost as the gaucho was marginalized wrote slatta writing in the early 1920s a visitor observed that the old gaucho equestrian practices had disappeared no riders now performed the daring and dangerous maroma or pialar he found that the ranch peon on the modern estancia could not sit a really bad horse he had lost the finely honed riding skills that allowed his gaucho predecessor to stay on virtually any mount 134 culture edit main article gaucho culture gauchos drinking mate and playing the guitar in the argentine pampas segundo ramírez who inspired ricardo güiraldes to write don segundo sombra the gaucho plays an important symbolic role in the nationalist feelings of this region especially that of argentina paraguay and uruguay the epic poem martín fierro by josé hernández considered by some the national epic of argentina l used the gaucho as a symbol against corruption and of argentine national tradition pitted against europeanising tendencies martín fierro the hero of the poem is drafted into the argentine military for a border war deserts and becomes an outlaw and fugitive the image of the free gaucho is often contrasted to the slaves who worked the northern brazilian lands further literary descriptions are found in ricardo güiraldes don segundo sombra gauchos were generally reputed to be strong honest silent types but proud and capable of violence when provoked 137 the gaucho tendency to violence over petty matters is also recognized as a typical trait gauchos use of the facón a large knife generally tucked into the rear of the gaucho s sash is legendary often associated with considerable bloodletting historically the facón was typically the only eating instrument that a gaucho carried 138 the gaucho diet was composed almost entirely of beef while on the range supplemented by mate an herbal infusion made from the leaves of yerba mate a type of holly rich in caffeine and nutrients the water for mate was heated short of boiling on a stove in a kettle and traditionally served in a hollowed out gourd and sipped through a metal straw called a bombilla 139 gauchos dressed and wielded tools quite distinct from north american cowboys in addition to the lariat gauchos used bolas or boleadoras boleadeiras in portuguese three leather bound rocks tied together with leather straps the typical gaucho outfit would include a poncho which doubled as a saddle blanket and as sleeping gear a facón dagger a leather whip called a rebenque and loose fitting trousers called bombachas or a poncho or blanket wrapped around the loins like a diaper called a chiripá belted with a sash called a faja a leather belt sometimes decorated with coins and elaborate buckles is often worn over the sash during winters gauchos wore heavy wool ponchos to protect against cold their tasks were to move the cattle between grazing fields or to market sites such as the port of buenos aires the yerra consists of branding the animal with the owner s sign the taming of animals was another of their usual activities taming was a trade especially appreciated throughout argentina and competitions to domesticate wild foal remained in force at festivals the majority of gauchos were illiterate and considered as countrymen 140 gauchos would frequent small businesses known as pulperías which served as a general store a tavern and sometimes as a fence to which stolen goods were sold to pulperías were typically located far in the country side and sold items such as yerba mate liquor tobacco sugar clothing horse tack and may other things vital to survival in the coun...
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