Genre | Folk dance |
---|---|
Inventor | Pre-Columbian Andean bolivian, civilizations |
Year | 1500s |
Origin | Altiplano region, Bolivia, South America |
The Diablada, also known as the Danza de los Diablos (English: Dance of the Devils), is an Andean folk dance performed in Bolivia, in the Altiplano region of South America, characterized by performers wearing masks and costumes representing the devil and other characters from pre-Columbian theology and mythology. [1] [2] combined with Spanish and Christian elements added during the colonial era. Many scholars have concluded that the dance is descended from the Llama llama dance in honor of the Uru god Tiw, [3] and the Aymaran ritual to the demon Anchanchu, both originating in pre-Columbian Bolivia [4] [5]
While the dance had been performed in the Andean region as early as the 1500s, its name originated in 1789 in Oruro, Bolivia, where performers dressed like the devil in parades called Diabladas. The first organized Diablada group with defined music and choreography appeared in Bolivia in 1904. [2] [6] There is also some evidence of the dance originating among miners in Potosi, Bolivia, [7] while regional dances in Peru and Chile may have also influenced the modern version.
Bolivian historians claim that the Diablada originated in that country, and that Oruro should be named as its place of origin under the Masterpieces of the Oral and Intangible Heritage of Humanity policy promoted by UNESCO; Bolivia has also claimed that performances of the dance in other countries are cultural appropriation. [8] [9] Bolivian historians currently maintain that the Diablada dates back 2000 years to the rituals of the Uru civilization dedicated to the mythological figure Tiw, who protected caves, lakes, and rivers as places of shelter. The dance is believed to have originated as the Llama llama in the ancient settlement of Oruro, which was one of the major centers of the Uru civilization. [10] [11] The dance includes references to animals that appear in Uru mythology such as ants, lizards, toads, and snakes. [12] [13] [14] Bolivian anthropologist Milton Eyzaguirre adds that the ancient cultures of the Bolivian Andes practiced a death cult called cupay, with that term eventually evolving into supay or the devil figure in the modern Diablada. [15]
Due to syncretism caused by Spanish influence in later centuries, Tiw was eventually associated with the devil; Spanish authorities also outlawed several of the ancient traditions but incorporated others into Christian theology. [16] Local and regional Diablada festivals arose during the Spanish colonial period and were eventually consolidated as the Carnaval de Oruro in the modern city of that name. [10]
...The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional llama llama or diablada in worship of the Uru god Tiw became the main dance at the Carnival of Oruro....
— Proclamation of "Masterpiece of Oral and Intangible Heritage of Humanity" to the "Carnival of Oruro", UNESCO 2001
Chilean and Peruvian organizations suggest that since the dance has roots in Andean civilizations that existed before the formation of the current national borders, it should belong equally to the three nations. [17] Some Chilean historians concede that the Diablada originated in Bolivia and was adopted for Chile's Fiesta de La Tirana in 1952, though it is also influenced by a similar 16th Century Chilean tradition called Diablos sueltos. [18]
Some Peruvian historians also concede that the dance originated in Bolivia but was influenced by earlier traditions practiced across the Altiplano region, including some specific to Peru. [19] [20] The Peruvian version, Diablada puneña, originated in the late 1500s among the Lupaka people in the Puno region, who in turn were influenced by the Jesuits; with that dance merging with the Bolivian version in the early 1900s. [21] [22] Scholars who defend the Diablada's origins in Peru cite Aymaran traditions surrounding the deity Anchanchu that had been documented by 16th Century historian Inca Garcilaso de la Vega. [4] [23] There is also a version of the Diablada in Ecuador called the Diablada pillareña. [24]
Some historians have theorized that the modern Diablada exhibits influences from Spanish dance traditions. In her book La danza de los diablos, Julia Elena Fortún proposed a connection with the Catalan entremés called Ball de diables as performed in the Catalonian communities of Penedès and Tarragona. That dance depicts a struggle between Lucifer and the archangel Saint Michael and is first known to have been performed in 1150. [25] [26] Catalan scholar Jordi Rius i Mercade has also found similarities between the Ball de diables and several Andean dances including the similarly-themed Baile de Diablos de Cobán in Guatemala and Danza de los diablicos de Túcume in Peru. [25]
Those theories contradict the more common theory that the modern Diablada is most influenced by the Spanish practice of autos sacramentales during which the colonizers introduced Christianity to the natives of the Andes, due to differing conceptions of the devil and his temptations. [27] The autos sacramentales process has been cited as an influence on the emergence of the Diablada puneña in Peru, shortly after the Spanish conquest of the Inca Empire, as believed by Garcilaso de la Vega. [28] Peruvian scholar Nicomedes Santa Cruz and Bolivian anthropologist Freddy Arancibia Andrade have suggested a similar process, with the dance originating among miners who rebelled against the Spanish at Potosi in 1538 while combining the ancient ritual of Tinku with Christian references. [7] [29] Andrade has also proposed a similar process among striking miners in 1904 as the origin of the modern version of the Diablada. [7]
Though the traditions of the Diablada were merged with Christianity during the colonial period, the meanings of the original traditions were revived and reassessed during the Latin American wars of independence. The Altiplano region, particularly around Lake Titicaca, became a center of appreciation for pre-Columbian dance and music. [30] During the Bolivian War of Independence, the main religious festival honoring the Virgin of the Candlemas was replaced by Carnival, which allowed for greater acknowledgement of pre-Christian traditions including the Diablada. The present annual Diablada festival was established in Oruro by 1891. [31]
The first institutionalized Diablada dance squad was the Gran Tradicional y Auténtica Diablada Oruro, founded in Bolivia in 1904 by Pedro Pablo Corrales. [32] That squad established a counterpart called the Los Vaporinos in Peru in 1918. [33] A squad from Bolivia was invited to travel to the Fiesta de la Tirana in Chile in 1956, and that country's first established squad was called Primera Diablada Servidores Virgen del Carmen, centered in Iquique. [34] In 2001, the Carnaval de Oruro was declared one of the Masterpieces of the Oral and Intangible Heritage of Humanity, along with the Diablada and 19 other dances performed at the festival. [35] In 2004, the Bolivian government awarded high national honors to the Gran Tradicional y Auténtica Diablada Oruro for its 100th anniversary. [36]
In its original form, the dance was performed with music by a band of Sikuris, who played the siku. In modern times the dance is accompanied by an orchestra. Dancers often perform on streets and public squares, but the ritual can also be performed at indoor theaters and arenas. The ritual begins with a krewe featuring Lucifer and Satan with several China Supay, or devil women. They are followed by the personified seven deadly sins of pride, greed, lust, anger, gluttony, envy, and sloth. Afterwards, a troop of devils come out. They are all led by Saint Michael, with a blouse, short skirt, sword, and shield. During the dance, angels and demons move continuously. This confrontation between the two sides is eclipsed when Saint Michael appears and defeats the Devil. The choreography has three versions, each consisting of seven moves. [37]
The music associated with the dance has two parts: the first is known as the March and the second one is known as the Devil's Mecapaqueña. Some squads play only one melody or start the Mecapaqueña in the fourth movement "by four". [37] Since the second half of the 20th century, dialogue is omitted so the focus is only on the dance. [38]
The Diablada Puneña originated in modern Peru with the in the Lupaka people in 1576, when they combined tenets of Christianity from the autos sacramentales with ancient Aymara traditions.[4][23] Some additional influences from the cult of the Virgin Mary were added in the following century.[22] The Peruvian version of the Diablada was quite different from the Ururo-based Bolivian version until the two merged at the Fiesta de la Candelaria in 1965. However, the Peruvian versions continue to feature homegrown figures like Superman, American Indians, ancient Mexicans, and characters from popular films.[39]
The costumes used in the Peruvian Diablata also include influences from Tibet as well as elements from pre-Columbian Peruvian cultures such as Sechin, Chavin, Nazca, and Mochica.[4] Homegrown masks were produced and sold in Peru starting in 1956.[40] Music for the dance was originally performed on the siku,[41] but that was later replaced by percussionists known as Sicu-Morenos.[39]>
In Chile, the Diablada is performed during the Fiesta de La Tirana in the northern region of that country. The festival attracts more than 100,000 visitors annually to the small village of La Tirana. [39] The festival is descended from the celebrations for the Virgin of Carmen that began in 1540. [39]
One of the theories about the Diablada de Pillaro (loosely translated as the "Devilish meet of Pillaro") origin says that is was born as a rebellion from the lower classes against the ruling invaders and the Church. [40]
In the Quechua, Aymara, and Inca mythologies, Supay was both the God of death and ruler of the Ukhu Pacha, the Incan underworld, as well as a race of demons. Supay is associated with miners' rituals.
Oruro or Uru Uru is a city in Bolivia with a population of 264,683, about halfway between La Paz and Sucre in the Altiplano, approximately 3,709 meters (12,169 ft) above sea level.
The Aymara or Aimara, people are an indigenous people in the Andes and Altiplano regions of South America. Approximately 2.3 million Aymara live in northwest Argentina, Bolivia, Chile, and Peru. The ancestors of the Aymara lived in the region for many centuries before becoming a subject people of the Inca Empire in the late 15th or early 16th century, and later of the Spanish in the 16th century. With the Spanish American wars of independence (1810–1825), the Aymaras became subjects of the new nations of Bolivia and Peru. After the War of the Pacific (1879–1883), Chile annexed territory with the Aymara population.
Andean music is a group of styles of music from the Andes region in South America.
Peruvian music is an amalgamation of sounds and styles drawing on Peru's Andean, Spanish, and African roots. Andean influences can perhaps be best heard in wind instruments and the shape of the melodies, while the African influences can be heard in the rhythm and percussion instruments, and European influences can be heard in the harmonies and stringed instruments. Pre-Columbian Andean music was played on drums and string instruments, like the European pipe and tabor tradition. Andean tritonic and pentatonic scales were elaborated during the colonial period into hexatonic, and in some cases, diatonic scales.
Bolivia is a country in South America, bordered by Brazil to the north and east, Paraguay and Argentina to the south, Chile to the west, and Peru to the west.
The Inca road system was the most extensive and advanced transportation system in pre-Columbian South America. It was about 40,000 kilometres (25,000 mi) long. The construction of the roads required a large expenditure of time and effort.
The Altiplano, Collao or Andean Plateau, in west-central South America, is the most extensive high plateau on Earth outside Tibet. The plateau is located at the latitude of the widest part of the north–south-trending Andes. The bulk of the Altiplano lies in Bolivia, but its northern parts lie in Peru, and its southwestern fringes lie in Chile.
Lake Poopó was a large saline lake in a shallow depression in the Altiplano in Oruro Department, Bolivia, at an altitude of approximately 3,700 m (12,100 ft). Due to the lake's length and width, it made up the eastern half of Oruro, known as a mining region in southwest Bolivia. The permanent part of the lake body covered approximately 1,000 square kilometres (390 sq mi) and it was the second-largest lake in the country. The lake received most of its water from the Desaguadero River, which flows from Lake Titicaca at the north end of the Altiplano. Since the lake lacked any major outlet and had a mean depth of less than 3 m (10 ft), the surface area differed greatly seasonally.
Gilberto Rojas Enríquez
The Carnival of Oruro is a religious and cultural festival in Oruro, Bolivia. It has been celebrated since the 18th century in the Peruvian virreynato. Originally an indigenous festival, the celebration later was transformed to incorporate a Christian ritual around the Virgin of Socavón. The carnival is one of UNESCO's Masterpieces of the Oral and Intangible Heritage of Humanity.
The Danza de las tijeras is an original dance of Chanka origin from the south of the Andes, in Peru. The dance consists of two or more dancers, followed by their respective orchestras of a violin and a harp. The dancers dance in turns, doing explicit moves and challenging steps, such as dancing with just one foot.
The Kullawada, kullahuada, cullaguada or kullawa is a dance practiced in Bolivia and Peru and there is controversy about the origin of the dance between Bolivia and Peru. The name of the dance derives from the word kullawa, in reference to its dancers. In Bolivia, kullawada is danced mainly in the Carnaval de Oruro, the Fiesta del Gran Poder, the Festividad de la Virgen de Urkupiña and the Festividad de Chutillos. In Peru the dance is represented in the Fiesta de la Candelaria.
The Morenada is an Andean folk dance whose origins are still under debate. This dance is practiced mainly in Bolivia as well as in Peru and in recent years with Bolivian immigration in Chile, Argentina and other countries.
The Son de los Diablos is an Afro-Peruvian dance that developed as a mixture between African, Spanish, and Amerindian rhythms. Nicomedes Santa Cruz explains that, despite popular opinion, the Son de los Diablos has no links with African rituals or with the Andean Morenada, but rather it has a very slight similarity with the Diabladas of Oruro (Bolivia).
The Carnavalito is a traditional indigenous dance from the Argentinian Altiplano and puna regions, usually performed during religious festivities. Its current form is an expression of a syncretism between Pre-Columbian and Spanish colonial culture. It is a collective dance which is joyful in nature.
Pachamama is a goddess revered by the indigenous peoples of the Andes. In Inca mythology she is an "Earth Mother" type goddess, and a fertility goddess who presides over planting and harvesting, embodies the mountains, and causes earthquakes. She is also an ever-present and independent deity who has her own creative power to sustain life on Earth. Her shrines are hallowed rocks, or the boles of legendary trees, and her artists envision her as an adult female bearing harvests of potatoes or coca leaves. The four cosmological Quechua principles – Water, Earth, Sun, and Moon – claim Pachamama as their prime origin. Priests sacrifice offerings of llamas, cuy, and elaborate, miniature, burned garments to her. Pachamama is the mother of Inti the sun god, and Mama Killa the moon goddess. Mama Killa is said to be the wife of Inti.
Bolivians are people identified with the country of Bolivia. This connection may be residential, legal, historical or cultural. For most Bolivians, several of these connections exist and are collectively the source of their being Bolivian.
Pre-Columbian Bolivia covers the historical period between 10,000 BCE, when the Upper Andes region was first populated and 1532, when Spanish conquistadors invaded Inca empire. The Andes region of Pre-Columbian South America was dominated by the Tiwanaku civilization until about 1200, when the regional kingdoms of the Aymara emerged as the most powerful of the ethnic groups living in the densely populated region surrounding Lake Titicaca. Power struggles continued until 1450, when the Incas incorporated upper Bolivia into their growing empire. Based in present-day Peru, the Incas instituted agricultural and mining practices that rivaled those put in place many years later by European conquerors. They also established a strong military force, and centralized political power. Despite their best efforts however, the Incas never completely controlled the nomadic tribes of the Bolivian lowlands, nor did they fully assimilate the Aymara kingdoms into their society. These internal divisions doomed the Inca Empire when European conquerors arrived.
The Wankarani culture was a formative stage culture that existed from approximately 1500 BCE to 400 CE on the altiplano highlands of Bolivia's Oruro Department to the north and northeast of Lake Poopo. It is the earliest known sedentary culture in Bolivia, as after circa 1200 BCE camelid hunters of the altiplano became camelid herders and sedentary lifestyle developed. The Wankarani culture was little researched before 1970, when Carlos Ponce Sanginés defined all the mound sites in the area as belonging to one culture that predated Tiwanaku and was contemporary with the Chiripa culture.
Danza típica de la región de Oruro, en Bolivia, llamada así por la careta y el traje de diablo que usan los bailarines (Typical dance from the region of Oruro, in Bolivia, called that way by the mask and devil suit worn by the dancers).
The town of Oruro, situated at an altitude of 3,700 metres in the mountains of western Bolivia and once a pre-Columbian ceremonial site, was an important mining area in the nineteenth and twentieth centuries. Resettled by the Spanish in 1606, it continued to be a sacred site for the Uru people, who would often travel long distances to perform their rituals, especially for the principal Ito festival. The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional llama llama or diablada in worship of the Uru god Tiw became the main dance at the Carnival of Oruro.
The town of Oruro, situated at an altitude of 3,700 metres in the mountains of western Bolivia and once a pre-Columbian ceremonial site, was an important mining area in the nineteenth and twentieth centuries. Resettled by the Spanish in 1606, it continued to be a sacred site for the Uru people, who would often travel long distances to perform their rituals, especially for the principal Ito festival. The Spanish banned these ceremonies in the seventeenth century, but they continued under the guise of Christian liturgy: the Andean gods were concealed behind Christian icons and the Andean divinities became the Saints. The Ito festival was transformed into a Christian ritual, celebrated on Candlemas (2 February). The traditional llama llama or diablada in worship of the Uru god Tiw became the main dance at the Carnival of Oruro.
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