The ‘Ntuppatedde of Catania: Between Sacred and Profane

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In the beating heart of Catania’s devotion, amidst the imposing candelabras swaying to the cadenced rhythm of prayers and the intense perfume of nougats, lies an ancient and controversial tradition, an echo of female freedom whispered in the folds of history: the ‘Ntuppatedde. These enigmatic figures, masked and unrecognisable women, have for centuries represented an element of rupture and fascination within the solemn Feast of Sant’Agata, the patron saint of Catania, weaving a thin thread between the sacred and the profane, between devotion and transgression.

A Dive into the Past: Origins and Meaning of an Ancient Ritual

The origin of the ‘Ntuppatedde is lost in the mists of time. The term derives from the Sicilian ‘ntuppari’, meaning ‘to close’, ‘to plug’, ‘to hide’, a clear reference to the disguise that completely concealed the identity of women. These female figures, in fact, wore a long black cloak, often made of silk or velvet, called a‘tuppo‘ or ‘fazzolettone’, which entirely covered the body and head, leaving only one eye or a small slit for the eye uncovered. The face was also veiled by a white handkerchief, the‘mandìli‘, embroidered and knotted behind the nape of the neck.

Their appearance was closely linked to the Feast of Saint Agatha, celebrated in Catania every year from 3 to 5 February (in addition to the summer feast on 17 August, in memory of the return of the remains from Constantinople). During the feast days, the ‘Ntuppatedde mingled among the crowds of devotees, free to move, to observe, to interact with men, protected by the anonymity guaranteed by their costume.

Verga’s Novella: ‘Coda del Diavolo’ and the Masked Seduction

Giovanni Verga, in his novella ‘Coda del Diavolo’ (‘The Devil’s Tail’), contained in the collection ‘Primavera e altri racconti’ (‘Spring and Other Tales’), offers a vivid description of the ‘Ntuppatedde and their role in the festivities: ‘… married or unmarried ladies who mingled among the crowd of devotees, disguised and unrecognisable, could go among the townspeople, seduce them, demand gifts, without their fathers or husbands being able to protest…’.

This quote highlights the most daring and provocative aspect of the tradition. The ‘Ntuppatedde, protected by their disguise, could in fact afford behaviour unthinkable for women of the time. They could approach men, even strangers, joke, provoke, and even ask for gifts, such as jewellery, sweets or money. This right to ‘demand gifts’ was an accepted custom during the festival, a tacit agreement between the freedom granted to women and the temporary suspension of strict social rules.

A Symbol of Women’s Freedom in a Patriarchal Society

In a strongly patriarchal society such as that of 19th-century Sicily, the ‘Ntuppatedde represented an extraordinary exception. For a few days a year, women could reverse roles, assume an active and dominant attitude, and exercise a form of power, albeit limited to the festive context. Disguise thus became an instrument of emancipation, a mask that allowed the expression of otherwise repressed desires and aspirations.

This freedom was, however, circumscribed and controlled. The ‘Ntuppatedde could only act within the framework of the festival and only while wearing their costume. Outside this context, they were again subject to the rigid social norms that regulated female life.

Prohibitions and Resistance: A Controversial Tradition

The freedom granted to the ‘Ntuppatedde was not viewed favourably by everyone. Over the centuries, their presence was repeatedly opposed by civil and religious authorities, concerned about public order and morality. Various bans were issued, which sought to limit or eliminate the tradition.

Historical sources report prohibitions issued as early as the 17th and 18th centuries. The reasons given were often linked to the alleged immorality of the behaviour of the ‘Ntuppatedde, who were accused of provoking unrest and undermining the virtue of women and the honour of families. However, behind these moral concerns, there was probably also the fear that the freedom granted to women, albeit temporary, could undermine the very foundations of patriarchal society.

The last ‘historical’ ‘Ntuppatedda, which appeared in 1868, was contested and booed by the crowd, a sign of changing times and a progressive erosion of tolerance towards this ancient custom. This episode marked the end of an era and the disappearance of the ‘Ntuppatedde from the public scene for over a century.

Rebirth: An Artistic Performance to Revive the Tradition

After a long period of oblivion, in 2013, thanks to the initiative of a group of Catanese artists and scholars, the ‘Ntuppatedde came back to life, no longer as a spontaneous expression of popular culture, but as a performative action, an artistic re-enactment that aims to revive the spirit and meaning of this ancient tradition.

This new incarnation of the ‘Ntuppatedde manifests itself during the Feast of Saint Agatha, particularly during the gathering of the candelore, the large votive candles carried in procession by devotees. The contemporary ‘Ntuppatedde, dressed in the traditional black costume and white kerchief, move through the crowd, dancing, smiling, waving red carnations, to the rhythm of the bands accompanying the candelore.

A Tribute to the Freedom and Strength of Catanese Women

The performance of the modern ‘Ntuppatedde is not a simple reproduction of the past, but a contemporary reinterpretation of an ancient custom. Through dance, gestures, colours and music, the artists want to convey a message of freedom, strength and female solidarity.

The red carnations, a symbol of passion and rebirth, are a tribute to Saint Agatha, whose strength and determination still inspire Catanese women today. The choral presence of the ‘Ntuppatedde, moving in unison, symbolises the importance of unity and mutual support between women.

The ‘Ntuppatedde Today: A Bridge Between Past and Present

Today’s ‘Ntuppatedde are a bridge between past and present, a way of remembering and highlighting an important page in Catania’s history and culture. Their performance is an invitation to reflect on the role of women in society, their struggle for freedom and emancipation, and the importance of preserving historical memory.

Through their art, the contemporary ‘Ntuppatedde remind us that the Feast of Saint Agatha is not only a religious event, but also a profound expression of Catanese identity, a melting pot of traditions, emotions and meanings that intertwine and are renewed over time. And in this interweaving, the figure of the ‘Ntuppatedda, with its aura of mystery and fascination, continues to exert an irresistible attraction, a symbol of a strong, independent femininity that is proud of its roots.

Symbolic Meanings and Interpretations

The disguise of the ‘Ntuppatedde was rich in symbolism. The black colour of the tuppo could represent mourning, penitence or mystery. The white handkerchief, on the other hand, could symbolise purity or virginity, creating an interesting contrast with the boldness of the women’s behaviour. The uncovered eye, the only visible element of the body, became an instrument of seduction and communication, an invitation to a game of glances and subtexts.

Some scholars have interpreted the tradition of the ‘Ntuppatedde as a remnant of ancient fertility rites or as a form of ‘female’ carnival, a moment of role reversal and liberation from social constraints. Others, however, have seen them as an expression of popular devotion to Saint Agatha, a sort of ‘offering’ of one’s femininity to the patron saint.

A Cultural Heritage to Preserve and Enhance

Regardless of the different interpretations, the ‘Ntuppatedde represent a cultural heritage of great value, a unique testimony to Catania’s history and traditions. Their rediscovery and reinterpretation in an artistic key are an important step towards safeguarding this heritage and passing it on to future generations.

The ‘Ntuppatedde speak to us of a complex and multifaceted femininity, capable of combining devotion and transgression, modesty and seduction, submission and rebellion. Their story invites us to reflect on the role of women in society, their struggle for freedom and self-determination, and the importance of preserving historical memory as a source of inspiration for the present and the future.

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