I have always been deeply and unaccountably moved while watching the Catalan castell being performed. My family and I witnessed a castell event last Sunday in the town of Roses, and I filmed two of them. The one I show here is a group from the town of Castelló.
To summarise: the castell (castle) is a traditional Catalan festival performance. Many towns and villages have their own club de castellers, which meet and rehearse around the year. The groundwork is done by a large group of castellers, mostly men, who will from the base, the pinya, upon which the whole structure is erected. The pinya needs to be solid and dependable if construction is to continue. Sometimes the second layer of castellers take a while finding their feet on the shoulders of the base component. Once they are ready, a signal is given, and the band begins to pay the toc de castell music, brassy and rousing. The upper layers need to rise as quickly as possible so as not to put excessive strain on the lower members, who bear most of the weight of the construction. Once the smallest casteller – usually a child of around six years of age – has reached the top, he or she raises four fingers towards the sky (symbolising the stripes of blood in the Catalan flag) and descends the other side of the castle, followed by her companions. The dismantling of the castle must also take place rapidly, and it is at this point that an accident is most likely to happen, as a casteller loses his or her footing, causing a colleague to lose balance. If there is a fall, there is the safety net of the pinya to prevent injury: the community protects its own. Very occasionally these accidents can be serious. In 2006 a young casteller fell to his death in a castell in Mataró. Prior to that there had been no fatalities for 23 years. However Health and Safety now requires the children on the upper layers to wear helmets.
The whole performance is an exercise in trust, in balance, and in togetherness. It also requires courage, especially from the children who form the uppermost layers of the castell. It moves me, I suppose, because it reflects the ability of small communities to depend on one another in a symbolic way, and to act out this solidarity as a piece of living theatre. This seems to be something so-called ‘minority cultures’ do well, but these cultural artefacts are dying out, and will one day disappear, or else will become objectified or Disneyfied, and become yet another quaint cultural product to be marketed and profited from. For the moment though, the castell holds a special place as an emblem of resistance, of identity, and of community.