Troupes
and figures
The troupes are the undisputed protagonists of the Patum. Heirs of the ancient medieval Corpus Christi entremeses, they represent a unique symbolic universe where fire, solemnity, satire and the ancient representations of good and evil coexist that, over the centuries, have kept the ritual force of our festival alive.
The Tabal, the Turcs i Cavallets, the Maces i els Àngels, the Guites, the Àliga, the Nans Vells, the Gegants, the Nans Nous and the Plens transcend their material dimension to become a living expression of collective identity. Each troupe has its own personality, a history and a specific way of moving and relating to the rest of the patumaires. A collective heritage that, with love and veneration, the Berguedans have preserved and managed to transmit from generation to generation.
Tabal
The Tabal (drum). The town crier of the festival. The sound of its beat (pa-tum, pa-tum) has given this festival its name since the late 18th century
The Tabal is the only element of the Patum that participates in each and every one of the festivities. Its presence is constant and in some ways it can be said to preside over and direct them.
Documented since 1621, and reconstructed in 1726, it was the only instrument of the Patum that marked the changing beat of the troupes until the mid-17th century. The Tabal, therefore, did not have any specific symbolism within the performances, but was in charge of directing and coordinating the movements of the various interludes and marked the beat of each of the dances.
The prominence of the Tabal was notably displaced at the end of the 19th century, when musical pieces began to be introduced into the festival.
Nonetheless, the Tabal and the Tabaler (drummer) continue to play an essential role in the Patum. On Ascension Sunday, the Tabal is in charge of announcing the imminent arrival of the Patum throughout Berga. At noon on the eve of Corpus Christi, it precedes the pass of the Gegants (giants) and it also leads the processions, or passes, in the evening on the same day (and the following Saturday). It currently presides over the performances of the Patum in Plaça de Sant Pere from a privileged position and in earlier times used to lead the rest of the Patum’s troupes in the Corpus Christi processions.
If at some point on the Sunday of the Ascension you do not hear the beating of the Tabal announcing the municipal agreement, then you know that there will be no Patum during that year.
Children's Patum
The Patum Infantil (children’s Patum) is celebrated on Corpus Christi Friday, although this activity for Berga’s youngsters begins much earlier. Rehearsals for the Patum Infantil last two weeks, and during this time the children of the town learn the various dances of the festivities, which is why it is known as a ‘escola de patumaires’, or school for Patum people.
On Corpus Christi Friday, the boys and girls of Berga perform their own Patum in Plaça de Sant Pere, which consists of the same elements as the one performed by adults, although smaller in size.
The Patum Infantil begins in the morning with a procession through the streets of Berga and performances of the Patum de Lluïment (ceremonial Patum) and full Patum at noon and in the evening, complete with all the troupes: Tabal (drum), Turcs (Turks) and Cavallets (little horses), Maces (maces) and Àngels (angels), Guites (mule dragons), Àliga (eagle), Nans Vells (old dwarfs), Gegants (giants), Nans Nous (new dwarfs), Plens (fire demons) and Tirabols (final dances).
patum de la llar
Accessible Patum promoted by professionals and users of the La Llar Foundation. It is a festival open to everyone, but dedicated to and made by people with functional diversity. This initiative ensures adapted popular culture, guaranteeing the participation and enjoyment of the experience of the people involved.
The patum music is performed live by the Band of the Berga Municipal School of Music and musicians from the La Llar Foundation.
Since 2023, it has been held in Plaça de Sant Pere.
music
A key element
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Music is a key element of the festival and it has been especially so since the late 19th century, when various melodies were incorporated into the Patum. The festival today cannot be conceived without the music performed by the Cobla Pirineu, Cobla Ciutat de Berga and Berga’s Municipal Music School Band.
Most of the music in the Patum is simple, traditional and in some ways uniquely wonderful music. One of the most important musicians of the Patum is Joaquim Serra i Farriols, ‘Quimserra’ (Berga, 1834-1906), composer of the music for the Turcs (Turks) and Cavallets (little horses), Plens (fire demons) and Nans Nous (new dwarfs). He was the one who radically changed the musical landscape of the Patum to make it definitively modern.
Mention should also be made of Ricard Cuadra i Camprubí (Berga 1951-1997), who organised the Forgotten Music of the Patum Concert in 1993 in order to recover old pieces that were no longer being performed. The success achieved with the unintentional reintroduction of works that had been forgotten for decades meant that this concert was held again in 1995 and 1997, helping to recover even more new melodies. His untimely death in 1997 led to the establishment of the Ricard Cuadra Memorial, which continues the work he left unfinished with an annual concert on Holy Trinity Saturday.