Jennet Rodriguez Betancourt

Córdova Iturregui insists that even today “…algunos grupos folklóricos pueden
montarlos porque siguen la descripción de Alonso” (22). Forastieri-Braschi in his critical
edition of El Gibaro (2007), further states La Gallera (Scene VII) “…todavía hoy es la
descripción mas completa de esa costumbre en Puerto Rico (XXXVIII).
Una Pelea De Gallos, Scene VIII and A Mi Amigo D. Miguel Delgado, Scene XV
are also writings full of descriptions and fine details which demonstrate his enthusiasm
for cock fights. Alonso narrates that any municipality on the island can go without
cultural events, and even a town mayor; however, “…cuando se trata de fundar una nueva
población no es extraño ver que aparece este edificio antes que la iglesia…” (Alonso 55).
These descriptions clearly evidence the writer’s keen awareness of the cultural and
popular traditions and forms of the island; nonetheless, they also expose Alonso’s
concern with the apparent lack of progress that the island is confronting.
In Scene V, Bailes de Puerto Rico, Alonso describes the dances in Puerto Rico
making a clear distinction between los bailes de garabato from los bailes de sociedad.
He clarifies that although el garabato is an inferior dance used by the popular class, it has
“… sus reglas, que se observan con todo rigor, y que nadie que toma parte en ellos esta
dispensado de guardar estrictamente. Aunque, como he dicho, son propios de la gente de
la clase inferior y del campo, algunas veces he visto bailar en ellos a personas muy
distinguidas” (47). He continues to cautiously voice that despite the fact that the island
doesn’t have theatres open all year round or enough people to attend them, “En cuanto a
los bailes nada tenemos que envidiarle al mundo” (48).
Once again through the lens of this young writer, the beginnings of a new Criollo
identity is being recorded; yet between the lines, Alonso continues to articulate his
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