Bolivian dances
There are a variety of folk dances in Bolivia . A distinction can be made between the dances of the indigenous population, European immigrants (especially Spaniards), African immigrants and those of the mestizos .
Suri Sikuri
This dance originated in the Andean communities of the Aymara . In the La Paz and Oruro departments it is danced in the provinces of the Altiplano at weddings and celebrations for the roof top.
The roots of the Suri Sikuri go back a long way. In any case, it is clear that it is reminiscent of the hunt for the Suri, better known in our latitudes as the rhea or the South American ostrich. First the Suri with the sounds of the pan flutes called Siku was circled by the Sicuris, the pan flute players, and then brought down with the help of the Liwi Liwis , a kind of sling.
But the Suri was and is not only a hunting object, it also has a cultic meaning to this day. In the dance, both the movements and the appearance of the bird are modeled: the dancers wear a frame made of rhea feathers that can be up to 2 m in diameter. In addition, the men often wear a breastplate, which used to be made of jaguar fur , black trousers and a white half-skirt.
The original form of the Suri Sikuri is played on diatonic tuned pan flutes ( Siku ) with 8 to 16 reeds. In addition, the musicians beat large, flat drums ( wanqaras ). In the 20th century a further development of the Suri Sikuri took place: on the one hand to the traditional Sikureadas de Veinta y Media , on the other hand to the popular Suri Sicuris of the cities, accompanied by brass instruments ( Bandas ).
Kullawada
The guilds of the Lama drivers ( Qarwani ) have always been an important part of the cultural diversity of the Andes . Even in pre-Columbian times, men and women participated in the Andean textile production. The textile industry was and is not only an important source of income, but also an important means of expressing ethno-cultural identity. Natural and abstract elements are processed into a complex symbolism, some of which allow an exact assignment of individual textiles to specific regions and villages.
Especially for the Kollas from the Andes, textile production also had an important role in social interaction and in the myths of the pre-Hispanic population. The origin of the Kullawada is associated with the legend of the banishment of Ayllu Kyllawa ( Ayllu = village community) by Mallku Inti Willka.
The Kullawada expresses this amalgamation of the economic and social function within the Andean textile industry. The most important symbol of this dance, which is particularly typical for the region around La Paz , is the spindle , also called hood in the Indian language Aymara , which every dancer wields by hand.
Both women and men wear richly embroidered hats with beaded fringes. The men use heavy coin belts and short, embroidered ponchos that are decorated with round elements that represent the old silver jewelry. The dancers wear knee-length traditional skirts, polleras, embroidered chest pieces and special triangular scarves, the llijllas, which come down from the shoulders to the waist, and a belt with coin pockets.
The Carnaval Betanceño comes from Betanzos , a small town near Potosí , the capital of the department of the same name . Potosí is located at around 4,000 m above sea level and became particularly well known through the Cerro Rico , the Silberberg. Today, after most of the silver has been mined, the region is one of the poorest areas in the country. Many villages can only be reached on foot and are not yet connected to the power grid. On the other hand, it is precisely because of this isolation that many of the old rites and customs have been preserved.
This also includes an archaic festival called "Tinku" ("encounter" in Quechua ). The members of the Macha, Pukwata, Chayanta and Sakava gather in selected village communities, the Ayllus , for a few days each month in May. There is dancing and music, and stimulated by the consumption of coca and alcohol to fight, the opponents arm themselves with leather helmets, sturdy gloves and slingshots in order to compete with members of the other ayllus.
The shedding of human blood is of elementary symbolic importance. However, the exchange of blows is subject to strict rules that are strictly controlled. At the moment when the superiority of the other side becomes too clear and threatens to destroy the other, the women of Ayllus step before the men in groups and bring the fight to a standstill. Nevertheless, it does happen that participants die, but this is considered necessary despite all the mourning for the fallen, as the shed blood is considered a sacrifice for the " Pachamama ", mother earth. - If it can be voted kindly, then the next year will be a good harvest year .
On the basis of this festival, a dance that is popular all over the country and rousing has developed, in which music groups like Los Kjarkas have a large share, who have dancers in appropriate costume with them at many live performances. In these presentations, the struggle and the influence of alcohol are only hinted at and the joy of romping clearly predominates. The women provoke with extensive hip swings and dangling arms, the men with an imposing demeanor, consisting of wide, deep steps and wild leaps. Many participants in the Bolivian Carnival study elaborate Tinku choreographies every year.
Like all Bolivian dances, those from Potosí also have their very special, unmistakable costume: the women's clothing consists of the almilla , a long, black dress richly embroidered on the hem, a sling (aguayo) in which everything from food to children is transported, and a shoulder cloth that is also colorfully embroidered with floral motifs. In order not to be disturbed by their long braids while working, they tie them together with the tullmas , a hair ornament that varies greatly from region to region. The still single dancers decorate their white felt hats made of llama wool with colorful feathers, ribbons and mirrors. As Chuspitas small hand-woven bags are called that for keeping coca leaves but also serve as a purse. The chumpis , colorful scarves, serve as belts. Chullos , the "pointed hats" that have become very popular in Germany recently, are only worn by men in Bolivia and are not only an object of daily use, but also symbolize the reputation within the village community. With the help of the Chullos , the affiliation to an ethnic group or a village community can be read off. The dancers use black or white trousers and mostly brightly colored, heavily embroidered and decorated jackets. In the past, the sandals called Ojotas were made from tanned cow leather, today they are often made from old car tires. For the Tinku, the men use special helmets called monteras. The shape of the monteras made of cowhide and adorned with feathers is reminiscent of the helmets of the Spanish conquerors.
Huayño
The huayno, also called huayño or wayno, is widely known as one of the most representative dances of the Andes. He combines pre-Hispanic elements of the Quechua and Aymara Indians with influences from the western world. While historians speculate that it might originally have been a dance for funeral ceremonies of the Incas, the Huayño is now an absolute festival dance.
Huayños are played with flutes, panpipes , drums, charango and guitar. However, countless regional variants have emerged that also allow trumpets, saxophone and accordion as musical instruments. The musical structure is based on a pentatonic scale and a binary 2/4 rhythm. On this basis, a number of musical genres were created, from the Huayño versions to Rock Andino.
Morenada
The Morenada, one of the most popular dances in Bolivia, is not only characterized by the richness of the costumes. This dance originated during the first years after independence from Spain (1825). The dance is led by the Rey Moreno (black king).
During the colonial days, Indians and blacks had to work as slaves in the silver mines of Potosí under inhumane conditions. It is estimated that more than eight million Indians perished during the 250 years of forced labor in the silver mines. When not enough Indians could be found, slaves from Angola, Guinea and the Congo area were taken to the Spanish colony. There they were driven, chained together in groups of ten, to the silver mines in Potosí, where they were supposed to replace the Indian slave laborers. However, the blacks could not get used to the climate of the plateau and ended up as plantation workers in the valleys of the Yungas , where they mainly worked in the coca fields.
Later, when the regiment of terror was over, the Indians created a dance from the traditions of their ancestors which they called Morenada. The richly embroidered costume of the Morenos, the blacks who are at the center of the Morenada, is interpreted in different ways: it could symbolize the master's wealth on the one hand, but also the high price he paid for his slave on the other hand.
The classic rattle of the matracas, a kind of ratchet, is also reminiscent of the long marches that the blacks had to cover, accompanied by the rattling of their chains and the creaking of the carriages to Charcas, Potosí and the Yungas.
The Morenada was created by the Indian population and the mestizos, not by the black slaves themselves. When and where this happened cannot be said with any certainty.
According to one hypothesis, it goes back to a revolt by the wine workers against the Caporal, the also black slave driver: A young black woman distracted the Caporal with her beauty and made him drunk. There he was allowed to stomp grapes and so turned the hatred into a happy dance full of irony against the rulers. However, no wine is grown in the Yungas.
The subtropical climate of the Valle Grande (valley region around the city of Cochabamba ) is reflected in the cheerful way of life, in the music and dance of the largely Creole population. - The Creole folklore of Bolivia has a character that is more strongly dominated by Spanish influences and the ironic, flirtatious dancing that men and women sing to each other at carnival are also reflected in the dance.
Pujllay: The Yamparas Carnival
The Pujllay is a festival that is celebrated every March in Tarabuco and coincides with both the pre-Hispanic "Jatun Pokoy" festival and the "Pauker Waray" in memory of the victory of the Yamparas over the Spanish troops on March 12th 1816 coincides. In dance, the men not only show sometimes martial steps, but - just like the women - also very unusual costumes. The pujllay dance has developed into a popular folk dance in recent years, which is performed in the cities, but especially in the Oruro Carnival . However, the costumes are no longer as elaborately worked as those of the Yampara. The music is also different: the long pinkillu and senqatanqana flutes have been replaced by the preferred brass bands (bandas). These play melodies that are more in line with the tastes of the urban population.
Llamerada
The Llamerada is one of the oldest dances in Bolivian folklore and originally belongs to the tradition of the Aymara Indians. Its original name was "karwani". The connection to the camelids ( llamas , guanacos , vicuñas , alpacas ) has existed for more than 4,000 years and the lama has always symbolized food, means of transport and a supplier of raw materials.
For many pre-Columbian cultures, dance was an art and magic through which one could turn what was danced into reality. Therefore, the lama drivers imitated shepherd scenes in order to keep their flock as large as possible.
In the meantime, the Llamerada has lost much of its mystical character, the choreography and steps have changed, but it still symbolizes the connection between the inhabitants of the Altiplano and their herds of llama. At certain times of the year the shepherds began to herd the more or less wild animals together into a human ring, which narrowed until they could touch the animals with their hands. Then it was decided which animals would be shorn, slaughtered or sacrificed at the "Huilancha".
Most Bolivian folk dances have only been danced by women for a few decades, but not so with the Llamerada: since looking after the herds has always been a family task, women have long been involved in the dance.
The montera, a special, square hat used by the former tribal chiefs of the Aymara Indians, is particularly typical of the dance. The man is wearing coarse ¾ trousers, woolen stockings, a sling and a lasso (both tied across the body). In the past, plaster masks with pointed lips (for whistling) were also common. The women also wear a montera, usually a knee-length skirt made of bayeta fabric, a sling and, like the men, they hold a small llama in one hand and a slingshot in the other, both symbols of their work.
Diablada
This dance is one of the most magnificent and original dances in Bolivia. It is not for nothing that it is well known outside the country's borders. The diablada is a symbol of the Oruro Carnival , which was declared a World Heritage Site by UNESCO in 2001 .
In the Diablada there is a strong amalgamation of the Andean worldview, in this case represented by the cult of the evil "Supay", of "Huari", the god of the mountains, and the devil of the Christian liturgy.
Far from their home communities, the Aymara Indians , who were obliged to do forced labor by their masters, continued to pay homage to their god "Huari" in the depths of the mines, now reinterpreted as the lord of the caves, the "Tío". Here the "Tío" took on benevolent traits and the miners began to offer him chicha , alcohol and coca in order to ask for wealth and protection in contrast. When the Indian population took over the Christian faith over time, they combined it with their original festivals, such as B. the "jatun poccoy", which was brought together with the European carnival. The dramatized fight between the Archangel Michael, the Candelaria virgin and the devils can be interpreted in two ways. - In the Christian sense it is a fight with the devil Lucifer and the seven deadly sins.
On the other hand, the legendary Urus, the natives of Oruros, worshiped "Huari", a god of strength, fire and mountains who wanted to exterminate the Urus, who were in degeneration, and therefore the frog, the snake, the lizard and a master of ants sent to be destroyed.
The Urus could only be saved through the benevolence of the virgin goddess “Ñusta”. - She turned frogs, snakes and lizards into stones and the army of ants into the sand dunes around the city of Oruro. According to legend, the defeated “Huari” finally fled to the interior of his mountains, to the rich minerals, never to come out again.
In the course of religious dualism (1789–1900), the figure of the Andean Pachamama was increasingly merged with that of the Blessed Virgin Mary, which explains the strong devotion to Mary (not just the Virgin of Socavón) in Bolivia. When the Diablada became popular (1900–1950), other dances began to be performed in honor of the Virgin of Socavón. (Socavón is one of the most important entrances to one of the mines in Oruro).
This period, which also saw the establishment of institutions such as the Gran Tradicional y Auténtica Diablada Oruro (1904), is the most important for the revival of some of the Bolivian dances that were almost disappearing. After the Chaco War , other important Diablada associations emerged: the Tradicional Folklórica Diablada Oruro (1943), the Diablada Círculo de Artes y Letras (1943) and the Fraternidad Artística y Cultural "La Diablada" (1944). The members of these associations come from the established middle class and are called "pijes" or "kharas". From this point on, higher social classes take part in the Diablada and the former dance of the miners begins to transform into a folklore ballet. With this, the Indian also loses its dominant role, which is now assumed by the "khara".
Between 1950 and 1995 the Diablada Ferroviaria (1956) and the Diablada Urus (1960) were founded. The diablada eventually became very popular outside of Bolivia's borders, especially in northern Chile and Argentina.
Tobas
The Tobas dance is about a figurative representation of the Chaco Indians. Even before colonization there were conflicts between the highland and lowland Indians. When the Quechua army captured Ch'unch'us from the tropics, the Aymara were inspired to perform a dance of the same name.
After the founding of the republic, the idea was taken up again by the Aymara who immigrated to La Paz and Oruro and the Tobas dance emerged, this time named after the Tobas ethnic group from the Chaco region . For the visual design with wooden masks and magnificent feather headdress, reference was made to the Tacana culture. In the meantime, numerous other dance costumes have been integrated into the Tobas dance. So one finds z. B. Costumes that are the Chunchus of Tarija or those that are modeled after the macheteros of the Beni lowlands as well as the costumes that are reminiscent of the North American natives of the prairies and plains.
The rest of the dance clothes are rather light so as not to restrict freedom of movement too much. Because Tobas, with its many jumps and turns, is probably one of the most physically demanding dances on the Altiplano.
Cueca
- see main article: Cueca
Every Bolivian region is characterized by pieces of music and dances that are typical for this state. The cueca and the bailecito are among the most representative dances of the federal states of Chuquisaca , Cochabamba , La Paz and Tarija . But the Cueca has become so popular that one should actually speak of a national dance that is danced across the country. There are rhythmic nuances and the tempo also varies depending on the region, but in principle it always remains a cueca. The cuecas from Cochabamba, Chuquisaca, La Paz and Tarija are seen as important regional varieties. Technically, the dance always consists of three parts: introduction, quimba and jaleo. The name of the band Quimbando was chosen based on the quimba as the central part of the dance, in which the composer achieves the maximum artistic and intellectual expression .
The Cueca was created during the period of independence. It quickly became popular both as a folk dance and in the elegant salons. The dancing always takes place in pairs, whereby the handkerchief must never be missing, as it is an existential component of this flirtatious game of seduction and provocation of the sexes.
Los macheteros
The dance of the macheteros is probably the most famous dance in the Beni region both inside and outside Bolivia . Although his interpretation of the resurrection and ascension of Christ is of colonial origin, stylistically the indigenous element clearly dominates. Each dancer carries a wooden sword (tumoré ti yucuqui) in his hand and a splendid feather headdress. The feathers come from the Amazon bird Parabas and are arranged chromatically according to their color intensity.
From the headdress (progi), a predator's fur hangs down to the ankles covered with paichachí seeds, which serve as percussion instruments. The barefoot dancers move ceremoniously without letting go of their swords, always in attacking position, always raising and lowering their heads as a sign of death and resurrection.
Taquirari
The Taquirari is the most famous rhythm and dance of the federal states of Santa Cruz, Beni and Pando, which together are also referred to as the Bolivian East. It is not known exactly how the dance came about, at least it has existed since the beginning of the 19th century. The name is derived from the moxeño word Takirikire, which means "arrow". The dancing takes place in pairs, with the dancers facing each other and holding hands. Musically, this lively and happy dance shows clear influences from indigenous cultures. The Cambas (men from the lowlands) wear white trousers and shirts, the women wear a tipoy, a long, sleeveless dress and flowers in their hair. Apart from its importance as a dance, the Taquirari is also seen as THE romantic song of the Bolivian East, as its lyrics are mostly about love.
Chacarera
The Chacarera belongs to Creole folklore. The Spanish influence cannot be overlooked in the couple dance - similar to the Sevillanas, footwork and swinging skirts alternate with changes in position. The dance, which is strongly associated with the gauchos, has its origins in the rural areas of the Gran Chaco or in Santiago del Estero in Argentina . The Gran Chaco extends over parts of Bolivia, Paraguay and Argentina and so the Chacarera is also present in all three countries. In recent years it has become very popular again in both Bolivia and Argentina.
Waca Waca
For the indigenous people of Bolivia , the arrival of the European cattle was an event that featured in the dances “waka-wakas” or “waka-thinti” (sowing potatoes), “waka tokhoris” (dancing bulls) and “tinti-kauallu” (bullfight) Found precipitation.
In the waca-thintis, rural life was portrayed with sheep herding, the work of the milk women and bullfighting against the musical background of the pinkillos and wankaras (drums). For the Indians, bullfights were a novelty that inspired them to dance “waka tokhori”. The nature of bullfighting was ridiculed by having cows, jokers (kusillos) and leaders of the Indian community dance as figures.
As has happened with most Bolivian dances, “evolution” did not stop at the Waca Waca dance. There is not much left of the silver capes and the enormous number of skirts of the matallas, originally a good sign of successful sowing.
Nowadays the men dance with a large leather stem with horns that symbolizes either a bull or a cow. The legs are covered by a kind of skirt that hangs down from the dummy cattle.
The Jilakata, or leader of the village community, carries a command stick, a hat made of sheep felt and a typical earth-colored poncho. The torero imitates the poses and steps of the Spanish bullfighter and is also dressed entirely in this style.
A kusillo (joker) ensures that the animals move evenly. The women wear sheep felt hats and long headscarves, as well as richly embroidered skirts and blouses and a silver-plated horn that they hang over their chests.
The milk women wear up to 25 skirts on top of each other, a Borsalino hat and a tin milk can, as is typical for milk women. It is also common to add other female figures, such as the Spaniard or the Ilusa who feeds the bulls.
Caporales
The culture of the Afrobolivian Yungas was the source of the dances Tundiqui or Negritos and the Saya, from which the Caporales dance developed. A strict distinction must therefore be made between the saya of the blacks, the tundiqui or negritos of the Aymara mestizos and the caporales, which is danced in the cities today by students and young people, predominantly from the middle class!
The dance portrays the black foreman, called Caporal (corporal), who beats his subordinates, who are also black, with the whip.
Initially, trousers in the style of German military uniforms were used for the costumes of the corporal, then they took on more Argentine shapes until they reached their current shape. The high boots with bells, the whip and the mask are typical.
Afro-Bolivian dances
The Africans deported to Bolivia finally found their home in the Yungas region, where today there are enclaves of Afro-Bolivian culture in Coroico, Mururata, Chicaloma, Calacala - Coscoma and Irupana. Their culture has mixed strongly with the Indian and so the Afro-Bolivians now only speak Spanish or Aymara, one of the dominant Indian languages. The African origin of this culture is most evident in the rhythms of the dances and songs, which are usually only accompanied by drums. The focus is on the Saya, which, similar to the Brazilian Samba, has probably developed from Angola and today's Congo, for example the Sungasunga Angola.
Bolivian salsa
Bolivian salsa is a slight modification of the original salsa. Here you hold both hands and you dance very close and provocatively together.
Web links
- Grupo Bolivia de Austria Information and pictures about Bolivian dances
- www.puebloindio.org Música y Danza autóctona (span.)
- www.pieb.org La Parodia Del Tinku: El Ritual Del Tinku Frente Al Tinku Folclórico (span.)