Certainly, the Fallas of València is a multifaceted festival with profound roots, extending beyond mere revelry and the burning of monuments. In this section, we aim to delve into aspects such as its history, the emotions it evokes, and any controversies it may spark. We firmly believe that a deeper understanding fosters a greater sense of responsibility and enjoyment.

History of the Fallas of València

The Fallas festival as we know it today, although rooted in traditions from decades ago, represents a modern version shaped by Spain’s political context —the fascist dictatorship of Francisco Franco preceding democracy— and the economic prosperity of the real estate bubble before 2008. However, let’s begin at the origin.

The origin of the Fallas of València

If you ask any Valencian on the street about the origin of the Fallas, they will likely tell you this version: the ancient carpenters’ guild, dating back to the 13th century, used to gather in the streets and burn scraps of wood and unusable furniture on the eve of their patron saint’s day, Saint Joseph. Other versions add the contribution of neighbors and their old furniture. According to this theory or legend, as there is no documentary evidence to corroborate it, the current appearance of the fallero monuments has its origins in the “parots,” structures used by the Guild to hang candelabras which, with the arrival of spring and longer daylight hours, were burned along with the rest of the material in the bonfire. It is said that these “parots” gradually took on human form, and from there, the current fallas evolved.

Another version of the origin of the festival, also widely spread in popular culture, is its pagan roots. Just as with other celebrations involving fire and seasonal change, such as the Hogueras de San Juan and their proven pagan origin with the summer solstice, some people believe and seek the origin in pre-Christian bonfires that welcomed spring.

However, there is no documentary evidence of this pagan origin. There is evidence of the celebration by the Carpenters’ Guild of València on their patron saint’s day, March 19th; however, there is no evidence of the burning of furniture and scraps on the eve of the celebration.

If we move away from popular beliefs and legends, historical archives provide specific dates from which we can start tracing the Fallas of València.

One of the first images of a Falla, in 1889 on Calle Maldonado. There is an earlier photo from the same year, but it’s difficult to make out anything due to its poor condition. Public domain image originally from ‘Foto Derrey’.

 In a document from 1777, revealed by the Levante – El Mercantil Valenciano newspaper in the Fallas 2024 Supplement through the work of historian Tomás Miralles Muñoz, it details how a young man was assaulted for crashing his cart into a falla located on San Narciso Street. The casual mention of this Falla suggests that they were already part of the city’s reality for some time, but, at least for now, no earlier reference has been found. There is another documentary reference in 1784, but it is from 1848 onwards that the Fallas festival begins to appear regularly in various documents and publications.

The spirit and evolution of the Fallas

Dating back to the continuous publications of 1848, there are references to the enduring popular spirit of the Fallas, independent of governmental influence. Indeed, the fallero monuments served as expressions of political satire and social protest, closely intertwined with the social, political, and economic milieu of the era. Documented evidence even exists of the first instance when the Fallas were not erected as part of the established festival tradition, occurring in 1886. This act of omission stemmed from the Falleros’ protest against a tax of 60 pesetas imposed for the construction of the monument. This tax aimed to quash a genuinely grassroots celebration, one divorced from religious connotations—the Offering of Flowers to the Mother of God had not yet materialized—and one that harbored significant criticism of the ruling class.

This defiant spirit persisted until the outbreak of the Civil War—notably on July 17, 1936, with the fascist coup d’état. Following the cessation of hostilities and Francisco Franco’s fascist triumph in 1939, the Fallas of València returned, albeit bereft of their erstwhile liberating and satirical essence. The new regime co-opted the festival, tightly controlling the themes depicted in the monuments.

Images of two fallas during the Second Republic. In the one on the right, the Torres de Quart can be seen, indicating that it was made on Guillem de Castro street. As can be observed, they were smaller in size and also mobile at the time. Archive of the Digital Valencian Library, photographs by Vicente Barberà Masip.

As chronicled in the collective tome ‘Francoism Went to the Party: Festive Rituals and Popular Culture during the Dictatorship,’ edited by Claudio Hernández Burgos and César Rina Simón, a staggering 87.75% of the falleros registered in 1943 had not been so in 1937. This indicates that just over 12% of falleros managed to navigate the political and ideological scrutiny of the dictatorship. The Central Fallera Board was established in 1939 and remains operational to this day. Originally conceived as a tool of Festival oversight, it transitioned the Fallas from a self-governing entity to one subject to the Board’s approval, resulting in near-universal censorship of the monuments. Today, the Central Fallera Board aspires to democratic representation, incorporating members from fallas commissions and institutions to adjudicate on key festival matters. Notably, the Valencian language’s usage to illustrate the fallas could be met with punitive measures.

Hence, the advent of Francoism heralded a ‘flattened’ iteration of the Fallas, devoid of political satire or social protest, or at least severely curtailed in scope. Although the onset of democracy post-Franco’s demise in 1975 saw a revival of much of this satire, its full reinstatement remains elusive. Presently, particularly in the larger Fallas of affluent locales, a subdued and less satirical tone prevails, featuring mild allusions and critiques of local, national, and international politics—a far cry from the spirited ethos of, say, the Second Republic. Nevertheless, smaller Fallas retain more of this original spirit, some even eschewing participation in religious ceremonies.

1. Falla at the intersection of Convento de Jerusalén Street and Matemático Marzal, 1964, postcard. Valencian Digital Library.
2. Falla at Plaza de la Merced, 1943, postcard. Valencian Digital Library.

The controversial origin of the Fallas Flower Offering

Flower Offering to the Virgin of the Forsaken, known as ‘Ofrena a la Mare de Déu dels Desemparats’ in Valencian or Fallas Flower Offering, is a procession that goes by different names but has become one of the most recognized aspects of the festival today.

Photograph of the floral offering after 1949, when the offerings began to be deposited outside the Valencia Cathedral. Public domain.

This tradition involves presenting flowers to a large wooden figure of the Virgin of the Forsaken, the religious patroness of the city, on the 17th and 18th of March. During these two days, numerous fallas committees from the city and surrounding areas parade through the streets towards the Plaza de la Virgen or ‘Plaça de la Mare de Déu’ in Valencian, where they offer the flowers that will temporarily adorn a grand mantle covering the figure.

The Fallas Flower Offering, deeply rooted in religious symbolism, was not always a part of the Fallas of València. According to local lore, in 1940, the Fallera Mayor of València and other representatives decided to make a small floral tribute to the Virgin. Although portrayed as a ‘spontaneous’ gesture initiated by the community, historians and some members of the public question its authenticity. This event occurred shortly after the Civil War and the rise of fascism in Spain, a period marked by close collaboration between the regime and the Catholic Church. Prior to this, during the Second Republic, the Fallas had been a platform for political satire and social commentary independent of religious and political authorities. The subsequent regime change brought about stricter control, raising doubts about the true nature of the inaugural floral offering, which was promoted by the authoritarian regime.

Regardless of its origins, the floral offering became an official part of the Fallas of València in 1945. Initially, the offerings were placed inside the Cathedral, but due to the increasing volume of flowers, the ceremony was moved outdoors to the same square in 1949.

Although the image of the Virgin adorned with flowers has become iconic, the tradition is relatively recent. The practice of covering a wooden structure with flowers to create the floral mantle began in 1987 and has continued ever since. Prior to this, the Fallas had existed independently of the religious offering for 162 years, from 1777 until 1939, before the tradition of the floral mantle was introduced 84 years ago.

The ‘other fallas’, closer to the origins

While the majority of fallas committees follow the mainstream trend with less critical and satirical fallas, significant investments in festivities, and participation in the Flower Offering, there are exceptions. Some fallas stay true to the traditional spirit of the festival prior to the dictatorship: smaller fallas where community and neighborhood collaboration take precedence, along with criticism. In these fallas, initiatives like eliminating gender requirements for Fallera Mayor and President of a falla have emerged, sometimes going against the regulations of the Junta Central Fallera.

The Falla Arrancapins in 2023, with a theme about the threat to individual freedoms and in favor of equality. Falla Arrancapins’ Facebook page.

There are even some fallas that, although recognized as such, do not participate in many events and reject aspects they believe distort the festival. A prime example is Falla Arrancapins, a more than a century-old falla that still maintains its satirical character, does not participate in the Flower Offering, and refuses to participate in awards, established during the Franco regime as another tool of control.

Traditional Fallas outfits

Falla event between 1929 and 1938, beginning of the fallero attire, and end of the fallero photographic archive by Vicente Barberà Masip. ‘Saragüell’ and Fallera costumes inspired by the ‘huertanas’ or farmland workers can be appreciated. Valencian Digital Library.

The traditional attire worn by falleras and falleros has its origins in 1929. That year, Pepita Samper won the ‘Miss Spain’ beauty pageant, and being from Valencia, she was celebrated during the festival, taking on a role similar to that of Fallera Mayor. A costume inspired by the laborers and farmwomen of the countryside, the workers of the Huerta de València who supplied the city, was prepared for her. Over time, some men, particularly on formal occasions, began to wear traditional ‘saragüell’ attire, which has its roots in Muslim culture, and ‘torrentí’ clothing, the luxurious attire of ancient Valencian farmers. The use of these costumes gradually became official until, once again, the dictatorship sought to intervene.

In 1954, the Junta Central Fallera, originally responsible for overseeing the Fallas, introduced a black suit with a white shirt, initially worn only by them, which became official in 1958 and mandatory for certain events in 1964. Concurrently, the Fallera costume inspired by the Huerta became more ornate, incorporating increasingly vibrant elements and intricate patterns. Towards the end of the dictatorship, dissent began to emerge in various aspects of society: despite potential sanctions, the ‘saragüell’ and ‘torrentí’ costumes started to regain popularity.

Today, various types coexist: some falleras wear costumes closer to the original style of 1929 and the simpler, less embellished attire of laborers, while others adhere to the changes introduced during the dictatorship. Similarly, although ‘saragüell’ and ‘torrentí’ costumes are prevalent, there are still falleros who wear the black suit established during the dictatorship