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Rooted in Ecuadorian folklore and contemporary fashion, it examines cultural identity, self-styling, and nostalgia under global influence, tracking how tradition adapts rather than disappears. The project takes its name from fanesca, an Easter dish that blends Indigenous practices with Spanish Catholic beliefs—an everyday metaphor for syncretism and survival. In its current chapter, La Santísima Tragedia, I focus on the Mama Negra celebration in Latacunga: a living fusion of Indigenous, Spanish, and African cultural lineages. The fiesta—also linked to the Virgen de la Merced—draws on a local vow to honour the figure credited with stopping Cotopaxi’s eruption in 1742. By photographing the ceremony through the language of fashion, portraiture, and performance, I trace how communities carry memory, negotiate power, and build collective resilience—where culture becomes a social infrastructure in the face of change. Fanesca has been featured by Vogue, Forbes, Metal Magazine, Lula Japan, among others. | Lucho Dávila]]> https://www.cizucu.com/zh-tw/photos/cu3LZEeOyIJhneSTLWrR Lucho Dávila https://www.cizucu.com/zh-tw/users/6Ry0XZOxWTXAVeSJ3iXeswc8KoF3 https://www.cizucu.com/zh-tw/photos/cu3LZEeOyIJhneSTLWrR Mon, 30 Mar 2026 21:51:53 GMT 2026-03-30T21:51:53+09:00 https://cdn.cizucu.com/images/photos/cu3LZEeOyIJhneSTLWrR.jpg?auto=compress,format <![CDATA[Fanesca is an ongoing body of work about how people are shaped by place, history, and belief—and how they reshape them in return through image, dress, and ritual. Rooted in Ecuadorian folklore and contemporary fashion, it examines cultural identity, self-styling, and nostalgia under global influence, tracking how tradition adapts rather than disappears. The project takes its name from fanesca, an Easter dish that blends Indigenous practices with Spanish Catholic beliefs—an everyday metaphor for syncretism and survival. In its current chapter, La Santísima Tragedia, I focus on the Mama Negra celebration in Latacunga: a living fusion of Indigenous, Spanish, and African cultural lineages. The fiesta—also linked to the Virgen de la Merced—draws on a local vow to honour the figure credited with stopping Cotopaxi’s eruption in 1742. By photographing the ceremony through the language of fashion, portraiture, and performance, I trace how communities carry memory, negotiate power, and build collective resilience—where culture becomes a social infrastructure in the face of change. Fanesca has been featured by Vogue, Forbes, Metal Magazine, Lula Japan, among others. | Lucho Dávila]]> https://www.cizucu.com/zh-tw/photos/cu3LZEeOyIJhneSTLWrR Lucho Dávila https://www.cizucu.com/zh-tw/users/6Ry0XZOxWTXAVeSJ3iXeswc8KoF3 https://www.cizucu.com/zh-tw/photos/cu3LZEeOyIJhneSTLWrR Mon, 30 Mar 2026 21:51:53 GMT 2026-03-30T21:52:00+09:00 https://cdn.cizucu.com/images/photos/cu3LZEeOyIJhneSTLWrR.jpg?auto=compress,format