Held in: Oruro, Bolivia
The Oruro Carnival is a festivity that was born from the ancestral ritual of adoration of the Urus gods and also of the Candelaria Virgin (Socavon Virgin) during the colinial times. The traditional Carnival festivity generates 18 marvelous dance expressions that nowadays are performed during the folkloric entrance.
La Diablada
The Diablada is a dance that originally comes from Oruro and is a material representation of a deep religious inspiration. This inspiration began with the discovery of the miraculous image of the Virgin Candelaria in the shelter of a famous thief called Nina Nina, probably in the 18th Century. The Oruro miners decided to declare said Virgin as the Patron Saint of the workers and to dance disguised as devils precisely to avoid provoking the anger of the mine's "Tio" (Uncle). The choreography of the Diablada represents the struggle between good and evil and the defeat of the seven deadly sins. This dance is performed in all the artistic and folk expressions of Bolivia and particularly in Oruro during the Carnival time.
Kantu
The kantu dance is one of the most important dances in La Paz small towns, and is performed during the Oruro Carnival as well. The music and dance are characterized by ceremonial melodies and therefore attached to different kallawayas rituals. The Kantu dance is basically a couple dance, but single dancers can also participate. The movements and dance steps are similar to the movements of the kataris (snakes). The most important Kantu dance group is the Kantus Sartananis.
La Morenada
The morenada dance mocks white men, who are depicted leading imported African slaves. Some highly embroidered and colorful costumes imitate pre-Columbian dresses. It is also one of the most popular highland dances, performed also during the Oruro Carnival. La Morenada was inspired by the sufferings of the African slaves brought to Bolivia in order to work in the Silver Mines of Potosi. The enormous tongue of the dark masks is meant to represent the physical state of these mine workers and the rattling of the "Matracas" is frequently associated with the sound of the slave chains.
Tobas
The Tobas dance is a special representation of energy - a singular dance with impressive jumps performed by the dancers to impress the audience. This unique dance is performed during religious and other festivities as well as the Oruro Carnival. The women and men dance tobas in separate blocks with special costumes made with feathers and colorful fabrics. The Tobas use a skirt, a small poncho and large feathered turbans. The dance steps have special names: Bolivar (quick with regular jumps); camba (very agile, one meter high jumps); chucu-chucu (with a faster rhythm that amuse the audience, in the foot tips, almost in the knees); and the cullahui jump.
Caporales
The Caporales is a typical Bolivian dance legacy of the Spanish. The dance is very popular especially in the carnivals and festivities such as the Oruro Carnival. A male caporal dress would depict an old Spanish military guard. Wearing heeled boots bearing large bells known as "cascabeles", a male dancer carries a hat in his left hand and a whip in his right. A female caporal dress consists of a minidress with matching panties, skin-color pantyhose, fancy shoes, and a round top hat pinned to her hair. Lots of colorful sequins are used in the caporal costumes. Men and women usually dance separately in a progressive march style dance. An interminable line of color and shine light up the streets, accompanied by the energy and smiles of the dancers. The Caporales is most popular among young men and women in their twenties and early thirties because of its physical demand. The Caporales music is contagious and rhythmic: the people who watch the spectacle join the dance celebration with special claps and shoulder movements.
Incas
The Incas dance is a representation of the old "wanka" (story, tragedy) in quechua and the Spanish performed it since 1871. The Sunday carnival in front of a shiny Inti (sun god), the sun sons remember the tragic end of Atahuallpa. The costumes have symbols that represent nobility.
Tinkus
The Tinkus is the name of the ritual fights between the Alasaya and the Majasaya. The tinku dance represents the encounter of two elements with opposite directions and origins. The origin of the dance is in Potosi. Colorful with strong movements, danced in separate groups of men and women accompanied by contagious music. The most important groups of tinku dancers participate in the Oruro Carnival.
Kullawada
The Kullawada dance recalls the knitter ritual. It is a festive dance popular among the aymara knitters. Men and women participate directed by a Waphuri. The Waphuri is an important person who when the word "Waphur!" is screamed, makes the choreographies change. The Waphuri use a plaster mask and a big distaff.
Llamerada
The Llamerada dance is known in aymara as "qarwani". The dance has a festive religious sense performed by llama, alpaca and vicuna raisers of La Paz. The Llamerada dance is a representation of the Sheppard's long journey to exchange basic products.
Pujllay
The Pujllay is a historical dance, locally interpreted by the natives called Tarabucos. The word tarabuco comes from Tarka Phuku which means, "The ones that blow or play the tarkas or moxenos (wind instruments). The stature, the hair combed backwards in a braided pony tail and the presentation of their festive clothes are the elegance in days of carnival, a season they call Pujllay.
Doctorcitos
The doctorcitos dance is a satire of the lawyers of the colonial epoch and of their secretaries for the use of wayra Levas. The costumes for the men are a top hat, black suit, a white shirt, a bow tie, and a cane. The ladies use a dark skirt, a vest and a stick.
Potolos
The Potolos dance has its origin in Potolo and Potobamba towns, the first one located in Chuquisaca and the other in Potosi. The dance is a mix of rhythmic movements and funny hip movements. It Is performed in Oruro Carnivals and in other important religious festivities. Tarqueada
The Tarqueada is a dance mostly known in the aymara area of Bolivia. The dance is accompanied by the sound of the Tarqa a musical instrument made of wood. It has a particular sound. In the markas communities there are several ways to dance the tarqueada with variations of the choreography.
Waka Tokori
The dance of the waka tokoris (dancing bulls) satirizes bullfights and represents with irony the Spanish conquerors. The dance origin is Umala town, Camacho province in La Paz. Umala was built as a resting place for the Spanish people on their journey towards the Pacific Ocean while carrying silver. The female dancers use many polleras (traditional skirts) and move the hips following a contagious and hypnotic rhythm, moving approximately 10 kilograms of clothes. The dance has different characters, among these: - The wakas men using bull's costumes (khawas) around their waist with bells around the bull's neck. - The milk woman or guides. - The k'aisillas or shepherdess. - The kusillos young man jumping and amusing people. - The jilakatas or oldest dancers. - The kausallas or bullfighters.
Kallawayas
The kallawayas dance expresses through a rich choreography and colorful dresses the representation of the "yatiri" (healer) with his relevant status inside the community and profound respect in the Andean world. The choreography is notable for the "llantucha" of "suri" that is the awning made of ostrich feathers that the itinerant physician uses for covering himself against sunburn or the raindrop in his long treks carrying spiritual and material health to the ayllus.
Negritos
The Negritos Bolivian Dance has its origin in the mutual admiration of the Aymaras and Negros, and the meeting of the cultures and history along the colony. It is performed during the Oruro Carnival and other important festivals. The dance is a tundunqui variation - it is originally from the subtropical areas of Bolivia. The Negritos dance attracts and amuses the tourists with contortions, rhythm, colorful dresses and hats.
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