THC Science

	A Diablada dance squad passing through the streets during the Carnival and Bolivia.
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 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.

History

Pre-Columbian origins

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]

Spanish influence

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]

Post-independence period

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]

Choreography

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]

Music

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]

Regional variations

Diablada Puneña (Peru)

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]

Fiesta de La Tirana (Chile)

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.^[42] The festival is descended from the celebrations for the Virgin of Carmen that began in 1540.^[42]

References

^ Kartomi, Margaret J.; Blum, Stephen (1994). Music-cultures in Contact: Convergences and Collisions. p. 63. ISBN 9782884491372.
^ ^a ^b Real Academia Española (2001). "Diccionario de la Lengua Española – Vigésima segunda edición" [Spanish Language Dictionary - 22nd edition] (in Spanish). Madrid, Spain. Retrieved 30 November 2009. 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).
^ "Bolivia (Plurinational State of) - Information related to Intangible Cultural Heritage". UNESCO. 2001. Retrieved 3 October 2009. 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.
^ ^a ^b ^c ^d Rubio Zapata, Miguel (Fall 2007). "Diablos Danzantes en Puno, Perú" [Dancing devils in Puno, Peru]. ReVista, Harvard Review of Latin America (in Spanish). VII (1): 66–67. Archived from the original on 1 April 2009. Retrieved 24 October 2009.
^ Morales Serruto, José (3 August 2009). "La diablada, manzana de la discordia en el altiplano [The ''Diablada'', the bone of contention in the Altiplano]" (Interview) (in Spanish). Puno, Peru: Correo. Retrieved 27 September 2009.^{[permanent dead link]}
^ http://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf Archived 2009-11-04 at the Wayback Machine Compilation of historians, anthropologists, researchers and folklorists about the Carnival of Oruro and La Diablada
^ ^a ^b ^c Arancibia Andrade, Freddy (20 August 2009). "Investigador afirma que la diablada surgió en Potosí [Investigator affirms that the ''Diablada'' emerged in Potosí]" (Interview) (in Spanish). La Paz, Bolivia. Archived from the original on 4 September 2009. Retrieved 2 October 2009.
^ "Perú dice que la diablada no es exclusiva de Bolivia" [Peru says that the Diablada is not exclusive of Bolivia]. La Prensa (in Spanish). La Paz, Bolivia: Editores Asociados S.A. 14 August 2009. Retrieved 10 December 2009. ^{[dead link]}
^ Echevers Tórrez 2009
^ ^a ^b A.C.F, O. 2001, pp.10-17.
^ Guaman Poma de Ayala 1615, p.235.
^ Claure Covarrubias, Javier (January 2009). "El Tío de la mina" [The Uncle of the mine] (in Spanish). Stockholm, Sweden: Arena y Cal, revista literaria y cultural divulgativa. Retrieved 13 January 2010.
^ Ríos, Edwin (2009). "Mitología andina de los urus" [Andean mythology of the Urus]. Mi Carnaval (in Spanish). Archived from the original on 24 December 2009. Retrieved 13 January 2010.
^ Ríos, Edwin (2009). "La Diablada originada en Oruro – Bolivia" [The Diablada originated in Oruro – Bolivia]. Mi Carnaval (in Spanish). Archived from the original on 15 August 2009. Retrieved 13 January 2010.
^ "La diablada orureña se remonta a la época de los Urus precoloniales" [The Diablada of Oruro goes back to the times of the Pre-Columbian Urus]. La Razón (in Spanish). La Paz, Bolivia. 9 August 2009. Archived from the original on 13 August 2011. Retrieved 9 April 2010.
^ A.C.F, O. 2001, p.3.
^ Moffett, Matt; Kozak, Robert (21 August 2009). "In This Spat Between Bolivia and Peru, The Details Are in the Devils". The Wall Street Journal. p. A1. Retrieved 4 October 2009.
^ "Memoria Chilena diabladas" (in Spanish).
^ Américo Valencia Chacon (3 September 2015). "Candelaria una propuesta frente a una gran responsabilidad" (in Spanish).
^ Luis Valverde Caldas. "La diablada como danza" (in Spanish).
^ Cuentas Ormachea 1986, pp. 35–36, 45.
^ ^a ^b Morales Serruto, José (3 August 2009). "La diablada, manzana de la discordia en el altiplano [The ''Diablada'', the bone of contention in the Altiplano]" (Interview) (in Spanish). Puno, Peru: Correo. Retrieved 27 September 2009.^{[permanent dead link]}
^ ^a ^b McFarren, Peter; Choque, Sixto; Gisbert, Teresa (2009) [1993]. McFarren, Peter (ed.). Máscaras de los Andes bolivianos [Masks of the Bolivian Andes] (in Spanish). Indiana, United States: Editorial Quipus. Retrieved 24 October 2009.
^ "Municipio realiza actualización del avalúo para el bienio 2016-2017". Archived from the original on 2016-03-03. Retrieved 2010-02-19.
^ ^a ^b Rius I Mercade 2005
^ Fortún 1961, p. 23.
^ Fortún 1961, p. 24.
^ De la Vega, Garcilaso; Serna, Mercedes (2000) [1617]. "XXVIII". Comentarios Reales [Royal Commentaries]. Clásicos Castalia (in Spanish). Vol. 252 (2000 ed.). Madrid, Spain: Editorial Castalia. pp. 226–227. ISBN 84-7039-855-5. OCLC 46420337.
^ Santa Cruz, 2004, p. 285.
^ Salles-Reese 1997, pp. 166-167.
^ Harris 2003, pp. 205-211.
^ "La diablada orureña se remonta a la época de los Urus precoloniales" [The Diablada of Oruro goes back to the times of the Pre-Columbian Urus]. La Razón (in Spanish). La Paz, Bolivia. 9 August 2009. Archived from the original on 13 August 2011. Retrieved 9 April 2010.
^ Cuentas Ormachea 1986, pp. 35–36, 45.
^ "El folclor de Chile y sus tres grandes raíces" [The Chile's folklore and its three great roots] (in Spanish). Memorias Chilenas. 2004. Archived from the original on 11 September 2008. Retrieved 9 December 2009.
^ "Bolivia (Plurinational State of) - Information related to Intangible Cultural Heritage". UNESCO. 2001. Retrieved 3 October 2009. 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.
^ "La Diablada De Oruro, máscara danza pagana" [The Diablada of Oruro, mask pagan dance] (in Spanish). 2009. Archived from the original on 14 July 2011. Retrieved 9 December 2009.
^ ^a ^b Fortún, Julia Elena (1961). "Actual coreografía del baile de los diablos" [Current choreography of the devils dance]. La danza de los diablos [The dance of the devils] (DOC). Autores bolivianos contemporáneos (in Spanish). Vol. 5. La Paz, Bolivia: Ministerio de Educación y Bellas Artes, Oficialía Mayor de Cultura Nacional. OCLC 3346627.
^ Gisbert 2002, p. 9.
^ ^a ^b Cuentas Ormachea, Enrique (23 August 2009). "Diablada: coreografía, vestimenta y música" [Diablada: choreography, clothing and music]. Los Andes (in Spanish). Puno, Peru. Retrieved 24 October 2009.
^ Jiménez Borja, Arturo (1996). Fundación del Banco Continental para el Fomento de la Educación y la Cultura (ed.). Máscaras peruanas [Peruvian masks] (in Spanish). Lima, Peru. Retrieved 24 October 2009.{{cite book}}: CS1 maint: location missing publisher (link)
^ Museo Nacional de Etnografía y Folklore (Bolivia) (2003). MUSEF (ed.). Serie anales de la reunión anual de etnología [Records of the annual reunion of ethnology series] (in Spanish). Vol. 2. La Paz, Bolivia: MUSEF. Retrieved 24 October 2009.
^ ^a ^b "Danzas ceremoniales del área cultural del Norte" [Ceremonial dances of the northern cultural area] (in Spanish). Chile: Hamaycan. Archived from the original on June 9, 2009. Retrieved 8 April 2010.

Articles:

Eckels, Charlene (17 October 2013). "Dance of the Devils" [Dance of the Devils]. Yareah. New York, New York. Archived from the original on 29 October 2013. Retrieved 27 October 2013.
Cajías, Fernando (23 August 2009). "La diablada orureña ya era noticia en el siglo XIX" [The Diablada of Oruro was already news in the 19th century]. La Razón (in Spanish). La Paz, Bolivia. Archived from the original on September 27, 2009. Retrieved 10 December 2009.
Cuentas Ormachea, Enrique (March 1986). "La Diablada: Una expresión de coreografía mestiza del Altiplano del Collao" [The Diablada: A mixed race choreographic expression of the Altiplano in the Collao]. Boletín de Lima (in Spanish). year 8 (44). Lima, Peru: Editorial Los Pinos. ISSN 0253-0015. Archived from the original (PNG) on June 16, 2010. Retrieved November 24, 2009.
Echevers Tórrez, Diego (3 October 2009). "Sobre diablos y diabladas, A propósito de apreciaciones sesgadas" [About devils and Diabladas, speaking about biased interpretations]. La Patria (in Spanish). Oruro, Bolivia. Retrieved 8 January 2010.
Gisbert, Teresa (December 2002). "El control de lo imaginario: teatralización de la fiesta" [The control of the imaginary: theatralization of the party] (PDF). Módulo: Estudios de caso – Session 14, Lecture 3 (in Spanish). Lima, Peru: Instituto de Estudios Peruanos. Archived from the original (PDF) on 19 July 2011. Retrieved 8 April 2010.
Rius i Mercade, Jordi (18 January 2008). "Concomitàncies entre els balls de diables catalans i les diabladas d'Amèrica del Sud" [Concomitances between the Ball de diables and the Diabladas of South America] (in Catalan). Tarragona, Spain: Junta del Ball de Diables www.balldediables.org. Retrieved 10 December 2009.
Thomas M Landy, "Dancing for the Virgin at La Tirana", Catholics & Cultures updated February 17, 2017

Books

Asociación de Conjuntos del Folklore de Oruro (2001). UNESCO (ed.). Formulario de Candidatura para la proclamación del Carnaval de Oruro como Obra Maestra del Patrimonio Oral e Intangible de la Humanidad [Candidature Form for the proclamation of the Carnaval de Oruro as Masterpiece of the Oral and Intangible Heritage of Humanity] (PDF) (in Spanish). Oruro, Bolivia. Archived from the original (PDF) on 4 November 2009. Retrieved 11 January 2010.{{cite book}}: CS1 maint: location missing publisher (link)
Fortún, Julia Elena (1961). La danza de los diablos [The dance of the devils]. Autores bolivianos contemporáneos (in Spanish). Vol. 5. La Paz, Bolivia: Ministerio de Educación y Bellas Artes, Oficialía Mayor de Cultura Nacional. OCLC 3346627.
Guamán Poma de Ayala, Felipe (1980) [1615]. Fundacion Biblioteca Ayacucho (ed.). El Primer Nueva Corónica y Buen Gobierno [The First New Chronicle and Good Government] (in Spanish). Vol. 2. Caracas, Venezuela. ISBN 84-660-0056-9. OCLC 8184767.{{cite book}}: CS1 maint: location missing publisher (link)
Harris, Max (2003). "The Sins of the Carnival Virgin (Bolivia)". Carnival and other Christian festivals: folk theology and folk performance. Joe R. and Teresa Lozano Long series in Latin American and Latino art and culture. Austin, United States: University of Texas Press. ISBN 978-0-292-70191-5. OCLC 52208546.
Salles-Reese, Verónica (1997). From Viracocha to the Virgin of Copacabana: representation of the sacred at Lake Titicaca (1 ed.). Austin, United States: University of Texas Press. ISBN 978-0-292-77713-2. OCLC 34722267.
Santa Cruz, Nicomedes (2004). LibrosEnRed (ed.). Obras Completas II. Investigación (1958-1991) [Complete Works II. Investigation (1958-1991)]. Obras completas, Nicomedes Santa Cruz (in Spanish). Vol. 2. ISBN 1-59754-014-5.

External links

Cultures Ministry of Bolivia Archived 2009-10-11 at the Wayback Machine (in Spanish)
Folklore's Group Association - Oruro (in Spanish)
National Culture Institute - Peru (in Spanish)

[1] Kartomi, Margaret J.; Blum, Stephen (1994). Music-cultures in Contact: Convergences and Collisions. p. 63. ISBN 9782884491372.

[DRAE-2] Real Academia Española (2001). "Diccionario de la Lengua Española – Vigésima segunda edición" [Spanish Language Dictionary - 22nd edition] (in Spanish). Madrid, Spain. Retrieved 30 November 2009. 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).

[UNESCO-3] "Bolivia (Plurinational State of) - Information related to Intangible Cultural Heritage". UNESCO. 2001. Retrieved 3 October 2009. 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.

[RubioZapata-4] Rubio Zapata, Miguel (Fall 2007). "Diablos Danzantes en Puno, Perú" [Dancing devils in Puno, Peru]. ReVista, Harvard Review of Latin America (in Spanish). VII (1): 66–67. Archived from the original on 1 April 2009. Retrieved 24 October 2009.

[Manzana2-5] Morales Serruto, José (3 August 2009). "La diablada, manzana de la discordia en el altiplano [The ''Diablada'', the bone of contention in the Altiplano]" (Interview) (in Spanish). Puno, Peru: Correo. Retrieved 27 September 2009.^{[permanent dead link]}

[6] ttp://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf Archived 2009-11-04 at the Wayback Machine Compilation of historians, anthropologists, researchers and folklorists about the Carnival of Oruro and La Diablada

[ArancibiaAndrade-7] Arancibia Andrade, Freddy (20 August 2009). "Investigador afirma que la diablada surgió en Potosí [Investigator affirms that the ''Diablada'' emerged in Potosí]" (Interview) (in Spanish). La Paz, Bolivia. Archived from the original on 4 September 2009. Retrieved 2 October 2009.

[LaPrensa1408092-8] "Perú dice que la diablada no es exclusiva de Bolivia" [Peru says that the Diablada is not exclusive of Bolivia]. La Prensa (in Spanish). La Paz, Bolivia: Editores Asociados S.A. 14 August 2009. Retrieved 10 December 2009. ^{[dead link]}

[DiablosDiabladas2-9] Echevers Tórrez 2009

[UNESCOformPP10-17-10] A.C.F, O. 2001, pp.10-17.

[11] Guaman Poma de Ayala 1615, p.235.

[MineTiw2-12] Claure Covarrubias, Javier (January 2009). "El Tío de la mina" [The Uncle of the mine] (in Spanish). Stockholm, Sweden: Arena y Cal, revista literaria y cultural divulgativa. Retrieved 13 January 2010.

[UruMyth2-13] Ríos, Edwin (2009). "Mitología andina de los urus" [Andean mythology of the Urus]. Mi Carnaval (in Spanish). Archived from the original on 24 December 2009. Retrieved 13 January 2010.

[DiabladaOrigOruro2-14] Ríos, Edwin (2009). "La Diablada originada en Oruro – Bolivia" [The Diablada originated in Oruro – Bolivia]. Mi Carnaval (in Spanish). Archived from the original on 15 August 2009. Retrieved 13 January 2010.

[Pre-ColumbianUrus2-15] "La diablada orureña se remonta a la época de los Urus precoloniales" [The Diablada of Oruro goes back to the times of the Pre-Columbian Urus]. La Razón (in Spanish). La Paz, Bolivia. 9 August 2009. Archived from the original on 13 August 2011. Retrieved 9 April 2010.

[16] A.C.F, O. 2001, p.3.

[WLSspat-17] Moffett, Matt; Kozak, Robert (21 August 2009). "In This Spat Between Bolivia and Peru, The Details Are in the Devils". The Wall Street Journal. p. A1. Retrieved 4 October 2009.

[18] "Memoria Chilena diabladas" (in Spanish).

[19] Américo Valencia Chacon (3 September 2015). "Candelaria una propuesta frente a una gran responsabilidad" (in Spanish).

[20] Luis Valverde Caldas. "La diablada como danza" (in Spanish).

[CuentasOrmacheaPP35-36-21] Cuentas Ormachea 1986, pp. 35–36, 45.

[Manzana-22] Morales Serruto, José (3 August 2009). "La diablada, manzana de la discordia en el altiplano [The ''Diablada'', the bone of contention in the Altiplano]" (Interview) (in Spanish). Puno, Peru: Correo. Retrieved 27 September 2009.^{[permanent dead link]}

[McFarrenChoqueGisbert-23] McFarren, Peter; Choque, Sixto; Gisbert, Teresa (2009) [1993]. McFarren, Peter (ed.). Máscaras de los Andes bolivianos [Masks of the Bolivian Andes] (in Spanish). Indiana, United States: Editorial Quipus. Retrieved 24 October 2009.

[24] "Municipio realiza actualización del avalúo para el bienio 2016-2017". Archived from the original on 2016-03-03. Retrieved 2010-02-19.

[RiusIMercade-25] Rius I Mercade 2005

[FortunP23-26] Fortún 1961, p. 23.

[27] Fortún 1961, p. 24.

[Garcilaso-28] De la Vega, Garcilaso; Serna, Mercedes (2000) [1617]. "XXVIII". Comentarios Reales [Royal Commentaries]. Clásicos Castalia (in Spanish). Vol. 252 (2000 ed.). Madrid, Spain: Editorial Castalia. pp. 226–227. ISBN 84-7039-855-5. OCLC 46420337.

[Nicomedes-29] Santa Cruz, 2004, p. 285.

[Salles-ReesePP166-167-30] Salles-Reese 1997, pp. 166-167.

[HarrisPP205-211-31] Harris 2003, pp. 205-211.

[Pre-ColumbianUrus3-32] "La diablada orureña se remonta a la época de los Urus precoloniales" [The Diablada of Oruro goes back to the times of the Pre-Columbian Urus]. La Razón (in Spanish). La Paz, Bolivia. 9 August 2009. Archived from the original on 13 August 2011. Retrieved 9 April 2010.

[CuentasOrmacheaPP35-362-33] Cuentas Ormachea 1986, pp. 35–36, 45.

[MemoriaChilena2-34] "El folclor de Chile y sus tres grandes raíces" [The Chile's folklore and its three great roots] (in Spanish). Memorias Chilenas. 2004. Archived from the original on 11 September 2008. Retrieved 9 December 2009.

[UNESCO3-35] "Bolivia (Plurinational State of) - Information related to Intangible Cultural Heritage". UNESCO. 2001. Retrieved 3 October 2009. 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.

[CondorDeLosAndes2-36] "La Diablada De Oruro, máscara danza pagana" [The Diablada of Oruro, mask pagan dance] (in Spanish). 2009. Archived from the original on 14 July 2011. Retrieved 9 December 2009.

[FortunChoreograph-37] Fortún, Julia Elena (1961). "Actual coreografía del baile de los diablos" [Current choreography of the devils dance]. La danza de los diablos [The dance of the devils] (DOC). Autores bolivianos contemporáneos (in Spanish). Vol. 5. La Paz, Bolivia: Ministerio de Educación y Bellas Artes, Oficialía Mayor de Cultura Nacional. OCLC 3346627.

[38] Gisbert 2002, p. 9.

[CuentasOrmachea2009-39] Cuentas Ormachea, Enrique (23 August 2009). "Diablada: coreografía, vestimenta y música" [Diablada: choreography, clothing and music]. Los Andes (in Spanish). Puno, Peru. Retrieved 24 October 2009.

[JiménezBorja-40] Jiménez Borja, Arturo (1996). Fundación del Banco Continental para el Fomento de la Educación y la Cultura (ed.). Máscaras peruanas [Peruvian masks] (in Spanish). Lima, Peru. Retrieved 24 October 2009.{{cite book}}: CS1 maint: location missing publisher (link)

[MUSEF-41] Museo Nacional de Etnografía y Folklore (Bolivia) (2003). MUSEF (ed.). Serie anales de la reunión anual de etnología [Records of the annual reunion of ethnology series] (in Spanish). Vol. 2. La Paz, Bolivia: MUSEF. Retrieved 24 October 2009.

[NorthDancesCL-42] "Danzas ceremoniales del área cultural del Norte" [Ceremonial dances of the northern cultural area] (in Spanish). Chile: Hamaycan. Archived from the original on June 9, 2009. Retrieved 8 April 2010.

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@@ Line 1: / Line 1: @@
+{{Infobox dance
-{{inuse}}
+| title       = Diablada
-{{Infobox music genre
-|name=Diablada
+| name        =
+| image       = Carnaval de Oruro dia I (60).JPG
-|bgcolor = red
+| imagesize   =
-|color = white
+| alt         =
-|stylistic_origins = [[Spanish culture]] and [[Andean music]].<sup>[[#infobox_notes|i]]</sup>
+| caption     = A Diablada dance squad passing through the streets during the [[Carnaval virgen de la candelaria in peru| Carnival]] and [[Bolivia]].
-|cultural_origins =
+| genre       = [[Folk dance]]
-'''for [[Bolivia]]:''' Roots in the [[prehispanic]] [[Uros|Uru traditions]] in the location of [[Oruro, Bolivia|Oruro]] in the [[1st century]], institutionalized by the choreographer Pedro Pablo Corrales and his dance squad ''[[Gran Tradicional y Auténtica Diablada Oruro]]'' in 1904.<br/>&nbsp;<br/>
+| signature   =
-'''for [[Peru]]:''' Roots in the ''[[autos sacramentales]]'' taught in the city of [[Juli, Peru|Juli]] to the [[Aymara]]n kingdom [[Lupaca]] in 1576, institutionalized in 1892 with the formation of the musical band ''[[Sikuris del Barrio Mañazo]]''.<sup>[[#infobox_notes|ii]]</sup>
+| inventor    = [[Pre-Columbian era|Pre-Columbian]] [[Andean bolivian, civilizations]]
-|instruments = [[cymbal]], [[bass drum]], [[trumpet]], [[tuba]], ''[[Siku (panpipe)|siku]]'', [[quena]] and more depending on regional variations.<sup>[[#infobox_notes|iii]]</sup>
+| year        = 1500s
-|popularity = [[Bolivia]], southern [[Peru]], northern [[Chile]].
+| origin      = [[Altiplano]] region, Bolivia, South America
-|subgenres = [[Diablada Puneña]].
-|regional_scenes = '''in Bolivia:'''<br/>
-''[[Carnaval de Oruro]]'', ''[[Fiesta del Gran Poder]]'', ''[[Fiesta de Urkupiña]]'', ''[[Fiesta de Ch'utillos]]'', ''[[Entrada de la Virgen de Guadalupe]]'' among others.<br/>
-'''in Peru:'''<br/>
-''[[Fiesta de la Candelaria (Puno)|Fiesta de la Candelaria]]''.<br/>
-'''in Chile:'''<br/>
-''[[Fiesta de La Tirana]]''
-|other_topics = [[Andean music]]
-[[File:Diablada - Carnaval 2009 at Oruro.jpg|alt=A Diablada dancer wearing a devil mask|210px]]
-----
-<div id="infobox_notes" align="left">
-{{cot|Notes|bg=#FFDAB9}}
-<ol style="list-style-type:lower-roman">
-  <li>The origins and patrimonial identity of the ''Diablada'' is a matter of dispute among authorities and historians of Bolivia, Chile and Peru.<ref name="WLSspat">{{cite news |title=In This Spat Between Bolivia and Peru, The Details Are in the Devils|author={{aut|Moffett, Matt}} |author2={{aut|Kozak, Robert}} |authorlink2=Robert Kozak|url=http://online.wsj.com/article/SB125081309502848049.html|newspaper=[[The Wall Street Journal]]|date=21 August 2009.|page=A1|accessdate=4 October 2009}}</ref>
-</li>
-  <li>The Peruvian historian [[Enrique Cuentas Ormachea]] published in 1986 an article where he, quoting the newspaper [[Los Andes (Puno)|Los Andes]] of [[Puno]] dated on February 2nd, 1918, mentioned that the first dance squad performing the ''Diablada'' in Peru was named ''Los Vaporinos'' which rented the suits and band from Pedro Pablo Corrales; later in 1922, ''Los Vaporinos'' due to budget limitations hired the ''Sikuris del Barrio Mañazo'' creating what is known as [[Diablada puneña]].<ref name="CuentasOrmacheaPP35-36">[[#refCuentasOrmachea1986|Cuentas Ormachea 1986]], pp. 35-36, 45.</ref> Later after the [[Miss Universe 2009#Bolivia – Peru dispute|2009 Bolivian-Peruvian dispute]] regarding this dance grew this version was denied.<ref name="CuentasOrmachea2009">{{cite news |title=Diablada: coreografía, vestimenta y música|author={{aut|Cuentas Ormachea, Enrique}} |authorlink= Enrique Cuentas Ormachea|url=http://www.losandes.com.pe/Cultural/20090823/26162.html|newspaper=[[Los Andes (Puno)|Los Andes]]|location=Puno, Peru|date=23 August 2009.|accessdate=24 October 2009 |language=Spanish |trans_title=''Diablada'': choreography, clothing and music}}</ref></li>
-  <li>The differences in the instruments are due to the regional variations in Bolivia the dance is accompanied by trumpets and drums while in Peru with sikus and quenas.</li>
-</ol>
-</div>
-{{cob}}
 }}
-The '''Diablada''' or '''Danza de Diablos''' ({{lang-en|Dance of Devils}}) is a traditional [[South American]] [[dance]] created in the Andean [[Altiplano]] characterized by the mask and devil suit wore by the dancers.<ref name="DRAE">{{cite web |url=http://buscon.rae.es/draeI/SrvltConsulta?TIPO_BUS=3&LEMA=diablada |title=Diccionario de la Lengua Española - Vigésima segunda edición |author={{aut|Real Academia Española}} |authorlink=Real Academia Española |year= 2001 |location=Madrid, Spain |language=Spanish |trans_title=Spanish Language Dictionary - 22nd edition |accessdate=30 November 2009 |quote=''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 Department|Oruro]], in [[Bolivia]], called that way by the mask and devil suit wore by the dancers).}}</ref> The dance is a mixture of the Spaniard's theatrical presentations and Andean religious ceremonies such as the ''[[Llama llama]]'' dance in honour of the [[Uros|Uru]] god [[Tiw]] (their protector in mines, lakes, and rivers),<ref name="UNESCO">{{cite web |url=http://www.unesco.org/culture/ich/index.php?lg=EN&cp=BO |title=Bolivia (Plurinational State of) - Information related to Intangible Cultural Heritage |year=2001 |publisher=[[UNESCO]]  |accessdate=3 October 2009 |quote=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.}}</ref> and the Aymaran miner's ritual to [[Anchanchu]] (a terrible demon spirit of caves and other isolated places).<ref name="RubioZapata">{{cite journal |author={{aut|Rubio Zapata, Miguel}} |date=Fall 2007 |title=Diablos Danzantes en Puno, Perú |trans_title=Dancing devils in Puno, Peru |journal=ReVista, Harvard Review of Latin America |volume=VII |issue=1 |pages=66-67  |url=http://www.drclas.harvard.edu/revista/articles/view/1005 |language=Spanish |accessdate=24 October 2009}}</ref>
+The '''Diablada''', also known as the '''Danza de los Diablos''' ({{lang-en|Dance of the Devils}}), is an [[Andean civilizations|Andean]] [[folk dance]] performed in Bolivia the [[Altiplano]] region of South America, characterized by performers wearing masks and costumes representing the [[devil]] and other characters from [[Pre-Columbian era|pre-Columbian]] theology and mythology.<ref>{{cite book|url=https://books.google.com/books?id=S2E3Q62l-lUC&dq=Diablada+Danza+de+Diablos&pg=PA63|page=63|title=Music-cultures in Contact: Convergences and Collisions|isbn=9782884491372|last1=Kartomi|first1=Margaret J.|last2=Blum|first2=Stephen|year=1994}}</ref><ref name="DRAE">{{cite web |url=http://buscon.rae.es/draeI/SrvltConsulta?TIPO_BUS=3&LEMA=diablada |title=Diccionario de la Lengua Española&nbsp;– Vigésima segunda edición |author=Real Academia Española   |author-link=Real Academia Española |year= 2001 |location=Madrid, Spain |language=es |trans-title=Spanish Language Dictionary - 22nd edition |access-date=30 November 2009 |quote=''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 Department|Oruro]], in [[Bolivia]], called that way by the mask and devil suit worn by the dancers).}}</ref> combined with Spanish and Christian elements added during the [[Spanish Empire|colonial era]]. Many scholars have concluded that the dance is descended from the [[Llama llama]] dance in honor of the [[Uros|Uru]] god [[Tiw (god)|Tiw]],<ref name="UNESCO">{{cite web |url=http://www.unesco.org/culture/ich/index.php?lg=EN&cp=BO |title=Bolivia (Plurinational State of) - Information related to Intangible Cultural Heritage |year=2001 |publisher=[[UNESCO]]  |access-date=3 October 2009 |quote=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.}}</ref> and the [[Aymara people|Aymaran]] ritual to the demon [[Anchanchu]], both originating in pre-Columbian [[Bolivia]]<ref name="RubioZapata">{{cite journal |author=Rubio Zapata, Miguel |date=Fall 2007 |title=Diablos Danzantes en Puno, Perú |trans-title=Dancing devils in Puno, Peru |journal=ReVista, Harvard Review of Latin America |volume=VII |issue=1 |pages=66–67 |url=http://www.drclas.harvard.edu/revista/articles/view/1005 |language=es |access-date=24 October 2009 |archive-url=https://web.archive.org/web/20090401071207/http://www.drclas.harvard.edu/revista/articles/view/1005 |archive-date=1 April 2009 }}</ref><ref name="Manzana2">{{cite interview|last=Morales Serruto|first=José|title=La diablada, manzana de la discordia en el altiplano <nowiki>[The ''Diablada'', the bone of contention in the Altiplano]</nowiki>|url=http://www.correoperu.com.pe/correo/nota.php?txtEdi_id=18&txtSecci_id=72&txtSecci_parent=&txtNota_id=106612|access-date=27 September 2009|publisher=[[Correo (Puno)|Correo]]|location=Puno, Peru|date=3 August 2009|language=es}}{{dead link|date=November 2017|bot=InternetArchiveBot|fix-attempted=yes}}</ref>
+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.<ref name="DRAE" /><ref>http://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf {{Webarchive|url=https://web.archive.org/web/20091104051802/http://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf|date=2009-11-04}} Compilation of historians, anthropologists, researchers and folklorists about the Carnival of Oruro and La Diablada</ref> There is also some evidence of the dance originating among miners in [[Potosí|Potosi, Bolivia]],<ref name="ArancibiaAndrade">{{cite interview |last=Arancibia Andrade |first=Freddy |title=Investigador afirma que la diablada surgió en Potosí <nowiki>[Investigator affirms that the ''Diablada'' emerged in Potosí]</nowiki> |url=http://www.la-razon.com/versiones/20090820_006825/nota_253_864270.htm |language=es |location=La Paz, Bolivia |date=20 August 2009 |access-date=2 October 2009 |archive-url=https://web.archive.org/web/20090904134937/http://www.la-razon.com/versiones/20090820_006825/nota_253_864270.htm |archive-date=4 September 2009 }}</ref> while regional dances in Peru and Chile may have also influenced the modern version.
-The origins and sense of patrimonial identity of this dance is a matter of dispute between authorities and historians of [[Bolivia]], [[Chile]] and [[Peru]] where it's performed as an important part of their respective festivities.<ref name="WLSspat" /> There is a style of dance proper of [[Ecuador]] named ''[[Diablada pillareña]]'',<ref name="pillaro">{{cite web |url=http://www.derechoecuador.com/index.php?option=com_content&task=view&id=4824&Itemid=512 |title=Registro Oficial No.516 |author=Presidency of Ecuador |authorlink=President of Ecuador |date=28 January 2009 |location=Quito, Ecuador |language=Spanish |trans_title=Official Registry No.526 |accessdate=24 March 2010}}</ref>  and squads of ''Diablada'' were founded in other countries such as [[Argentina]], [[United States]] and  [[Austria]].<ref name="ArgentinaSquad">{{cite web |url=http://www.comunidadboliviana.com.ar/shop/detallenot.asp?notid=733 |title=Fraternidad Folcklórica la Diablada y su Ballet de Danzas Bolivia Morón-Argentina |author={{aut|Pomacusi, William}} |date=15 March 2006 |publisher=[http://ComunidadBoliviana.com.ar ComunidadBoliviana.com.ar] |location=Buenos Aires, Argentina |language=Spanish |trans_title=Folkloric fraternity The ''Diablada'' and its ballet of Bolivia dances Morón-Argentina}}</ref><ref name="USAsquad">{{cite news |title=Publican en EEUU un libro sobre la Diablada Boliviana |author={{aut|Morales Luján, Armando}} |url=http://www.la-razon.com/versiones/20090220_006644/nota_253_766270.htm |newspaper=[[La Razón (La Paz)|La Razón]] |location=La Paz, Bolivia |date=20 February 2009 |accessdate=24 March 2010 |language=Spanish |trans_title=Book will be published in USA about the Bolivian Diablada}}</ref><ref name="AustriaSquad">{{cite web |url=http://www.unet.univie.ac.at/~a9750175/englisch/ebolivia-html.htm |title=Tanzgruppe BOLIVIA - folk dances from Bolivia |publisher=Tanzgruppe Bolivia |location=Vienna, Austria |accessdate=24 March 2010}}</ref>
 ==History==
+=== Pre-Columbian origins ===
+[[File:Fiesta de los Collasuyos.jpg|thumb|alt=Ancient drawing of the ''Collasuyus''.|Depiction of a [[Collasuyu]] party in the 17th century book ''[[Primer Nueva Corónica y Buen Gobierno]]'' of [[Felipe Guamán Poma de Ayala]].]]
+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]].<ref name="LaPrensa1408092">{{cite news|date=14 August 2009|title=Perú dice que la diablada no es exclusiva de Bolivia|language=es|trans-title=Peru says that the ''Diablada'' is not exclusive of Bolivia|newspaper=[[La Prensa (La Paz)|La Prensa]]|publisher=Editores Asociados S.A.|location=La Paz, Bolivia|url=http://www.laprensa.com.bo/noticias/14-08-09/noticias.php?nota=14_08_09_alfi5.php|access-date=10 December 2009}} {{Dead link|date=October 2010|bot=H3llBot}}</ref><ref name="DiablosDiabladas2">[[Diablada#refDiablosDiabladas|Echevers Tórrez 2009]]</ref> Bolivian historians currently maintain that the Diablada dates back 2000 years to the rituals of the [[Uros|Uru civilization]] dedicated to the mythological figure [[Tiw (god)|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.<ref name="UNESCOformPP10-17" /><ref>[[Diablada#refGuamanPoma1615|Guaman Poma de Ayala 1615]], p.235.</ref> The dance includes references to animals that appear in Uru mythology such as ants, lizards, toads, and snakes.<ref name="MineTiw2">{{cite web|author=Claure Covarrubias, Javier|date=January 2009|title=El Tío de la mina|trans-title=The Uncle of the mine|url=http://www.islabahia.com/arenaycal/2009/156_enero/javier_claure_156.asp|access-date=13 January 2010|publisher=Arena y Cal, revista literaria y cultural divulgativa|location=Stockholm, Sweden|language=es}}</ref><ref name="UruMyth2">{{cite web|author=Ríos, Edwin|year=2009|title=Mitología andina de los urus|trans-title=Andean mythology of the Urus|url=http://www.micarnaval.net/mitologia.htm|archive-url=https://web.archive.org/web/20091224155130/http://www.micarnaval.net/mitologia.htm|archive-date=24 December 2009|access-date=13 January 2010|website=Mi Carnaval |language=es}}</ref><ref name="DiabladaOrigOruro2">{{cite web|author=Ríos, Edwin|year=2009|title=La Diablada originada en Oruro&nbsp;– Bolivia|trans-title=The ''Diablada'' originated in Oruro&nbsp;– Bolivia|url=http://www.micarnaval.net/origen_diablada.htm|archive-url=https://web.archive.org/web/20090815145701/http://www.micarnaval.net/origen_diablada.htm|archive-date=15 August 2009|access-date=13 January 2010|website=Mi Carnaval |language=es}}</ref> 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.<ref name="Pre-ColumbianUrus2">{{cite news|date=9 August 2009|title=La diablada orureña se remonta a la época de los Urus precoloniales|language=es|trans-title=The ''Diablada'' of Oruro goes back to the times of the Pre-Columbian Urus|newspaper=[[La Razón (La Paz)|La Razón]]|location=La Paz, Bolivia|url=http://co.wradiofm.com/nota.aspx?id=858474|access-date=9 April 2010|archive-url=https://web.archive.org/web/20110813192031/http://co.wradiofm.com/nota.aspx?id=858474|archive-date=13 August 2011|df=dmy-all}}</ref>
+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.<ref>[[#refUNESCOform|A.C.F, O. 2001]], p.3.</ref> Local and regional Diablada festivals arose during the [[Spanish Empire|Spanish colonial period]] and were eventually consolidated as the [[Carnaval de Oruro]] in the [[Oruro, Bolivia|modern city]] of that name.<ref name="UNESCOformPP10-17">[[#refUNESCOform|A.C.F, O. 2001]], pp.10-17.</ref>
-The origin of the ''Diablada'' is a matter of dispute.<ref name="WLSspat"/> The 2001 proclamation of the ''[[Carnaval de Oruro]]'' as one of the [[Masterpieces of the Oral and Intangible Heritage of Humanity]] by the [[UNESCO]] suggested that this dance had roots in the ancient dance of the ''[[Llama llama]]'' in worship of the [[Uros|Uru]] god [[Tiw]] which used to take place in the ancient location where the modern [[Oruro, Bolivia]] is nowadays for being this area a sacred place for the Urus.<ref name="UNESCO"/> It is also believed that the dance could have had its beginnings in another city of modern-day [[Bolivia]], such as in the city of [[Potosí, Bolivia|Potosí]], back then a miner's settlement during the [[Spanish conquest]], from where it later spread to [[Oruro, Bolivia|Oruro]] and other parts of the [[Altiplano]].<ref name="ArancibiaAndrade">{{cite interview |last=Arancibia Andrade |first=Freddy |title=Investigador afirma que la diablada surgió en Potosí <nowiki>[Investigator affirms that the ''Diablada'' emerged in Potosí]</nowiki> |url=http://www.la-razon.com/versiones/20090820_006825/nota_253_864270.htm |callsign=(in Spanish). |city=La Paz, Bolivia |date=20 August 2009 |accessdate=2 October 2009}}</ref> Another theory suggests that the ''Diablada'' would have been introduced in [[1576]] to the native [[Lupaka]]s people of [[Juli]], located near [[Lake Titicaca]] in the Altiplano of present-day [[Puno Region|Puno]], Peru; and from there it allegedly spread to other parts of the Spanish domain in the Americas.<ref name="Manzana">{{cite interview |last=Morales Serruto |first=José |title=La diablada, manzana de la discordia en el altiplano <nowiki>[The ''Diablada'', the bone of contention in the Altiplano]</nowiki> |url=http://www.correoperu.com.pe/correo/nota.php?txtEdi_id=18&txtSecci_id=72&txtSecci_parent=&txtNota_id=106612 |callsign=(in Spanish). [[Correo (Puno)|Correo]] |city=Puno,Peru |date=3 August 2009 |accessdate=27 September 2009}}</ref> During the evangelism of the natives, the missionaries instilled the Christian paradigm of good and evil by teaching them their theatrical dance which was a representation of the [[seven deadly sins]] that concluded with the victory of the [[angel]]s over the [[demon]]s (which is how the costumes of angels and demons became associated with the dance). Ultimately, the result was a fusion between Spanish and Andean culture in the Altiplano as the original dance taught by the Jesuit missionaries adopted Andean elements.
+{{cquote|...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....| 4 = Proclamation of "Masterpiece of Oral and Intangible Heritage of Humanity" to the "Carnival of Oruro", UNESCO 2001}}
-The ''Diablada''' represents a mixture between Christianity and Andean religions that goes as far back as [[1538]], where in the mines of [[Aullagas]] (in northern [[Potosí Department|Potosí]]) the natives adopted [[Christian]] religious figures and adapted them to their indigenous religious visions.<ref name="ArancibiaAndrade"/> The dance eventually became part of a series of Christian religious festivities, most prominently during the celebrations to the [[Virgin of Candelaria]] (also known as the [[Virgin of Socavón]]).<ref name="ArancibiaAndrade"/> These [[Christian]] rituals replaced the old Andean beliefs and mythology, and the festivities changed from honouring what were considered "pagan" gods to that of honouring Christian [[saint]]s and [[God in Christianity|God]]. Over the years, the ''Diablada'' has developed uniquely in various regions of South America, which has led to variations such as the [[Diablada Puneña]] and the [[Diablada of Oruro]].<ref name="RubioZapata" />
+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.<ref name="WLSspat">{{cite news|author=Moffett, Matt|author2=Kozak, Robert|date=21 August 2009|title=In This Spat Between Bolivia and Peru, The Details Are in the Devils|page=A1|newspaper=[[The Wall Street Journal]]|url=https://www.wsj.com/articles/SB125081309502848049|author-link2=Robert Kozak|access-date=4 October 2009}}</ref> 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''.<ref>{{cite web|title=Memoria Chilena diabladas|url=http://www.memoriachilena.gob.cl/602/w3-article-92445.html|language=es}}</ref>
-===Native American roots===
+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.<ref>{{cite web|url=https://issuu.com/avalenciach/docs/avach_articulo_candelaria_unesco|title=Candelaria una propuesta frente a una gran responsabilidad|author=Américo Valencia Chacon|date=3 September 2015 |language=es}}</ref><ref>{{cite web|title=La diablada como danza|url=https://es.scribd.com/document/474704564/LA-DIABLADA-COMO-DANZA|author=Luis Valverde Caldas|language=es}}</ref> The Peruvian version, ''Diablada puneña'', originated in the late 1500s among the [[Lupaca|Lupaka]] people in the [[Puno Province|Puno]] region, who in turn were influenced by the [[Society of Jesus|Jesuits]]; with that dance merging with the Bolivian version in the early 1900s.<ref name="CuentasOrmacheaPP35-36">[[Diablada#refCuentasOrmachea1986|Cuentas Ormachea 1986]], pp. 35–36, 45.</ref><ref name="Manzana">{{cite interview |last=Morales Serruto |first=José |title=La diablada, manzana de la discordia en el altiplano <nowiki>[The ''Diablada'', the bone of contention in the Altiplano]</nowiki> |url=http://www.correoperu.com.pe/correo/nota.php?txtEdi_id=18&txtSecci_id=72&txtSecci_parent=&txtNota_id=106612 |language=es |publisher=[[Correo (Puno)|Correo]] |location=Puno, Peru |date=3 August 2009 |access-date=27 September 2009 }}{{dead link|date=September 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> Scholars who defend the Diablada's origins in Peru cite [[Aymara people|Aymara]]n traditions surrounding the deity [[Anchanchu]] that had been documented by 16th Century historian [[Inca Garcilaso de la Vega]].<ref name="RubioZapata" /><ref name="McFarrenChoqueGisbert">{{cite book |author1=McFarren, Peter   |author2=Choque, Sixto |author3=Gisbert, Teresa |editor1-first=Peter |editor1-last=McFarren |title=Máscaras de los Andes bolivianos |trans-title=Masks of the Bolivian Andes |url=https://books.google.com/books?id=s3LOnU0zgugC |access-date=24 October 2009 |year=2009 |orig-date=1993 |publisher=Editorial Quipus |location=Indiana, United States |language=es}}</ref> There is also a version of the Diablada in Ecuador called the ''Diablada pillareña''.<ref>{{Cite web |url=http://www.diariolosandes.com.ec/index2.php?option=com_content&do_pdf=1&id=10219 |title=Municipio realiza actualización del avalúo para el bienio 2016-2017 |access-date=2010-02-19 |archive-url=https://web.archive.org/web/20160303170023/http://www.diariolosandes.com.ec/index2.php?option=com_content&do_pdf=1&id=10219 |archive-date=2016-03-03 }}</ref>
-The debate about the patrimonial identity of the ''Diablada'' concerns its roots as well.<ref name="WLSspat" /> Chilean and Peruvian organizations suggest that since this dance is inspired in the Andean civilizations previous to the formation of the current national borders, it should belong equally to the three nations and other [[Andean states]] such as [[Argentina]] and [[Ecuador]] as well. Bolivian cultural organizations and government label this as an "unlawful cultural heritage appropriation" and consider that the declaration of the ''[[Carnaval de Oruro]]'' as one of the [[Masterpieces of the Oral and Intangible Heritage of Humanity]] gives Bolivia and the city of Oruro support on this claim.<ref name="LaPrensa140809">{{cite news |title=Perú dice que la diablada no es exclusiva de Bolivia |url=http://www.laprensa.com.bo/noticias/14-08-09/noticias.php?nota=14_08_09_alfi5.php |date=14 August 2009 |newspaper=[[La Prensa (La Paz)|La Prensa]] |publisher=Editores Asociados S.A. |location=La Paz, Bolivia |accessdate=10 December 2009 |language=Spanish |trans_title=Peru says that the ''Diablada'' is not exclusive of Bolivia}}</ref> Bolivian scholars such as the professor of ethnomusicology and cultural heritage, Diego Echevers Tórrez, express that the ''Diablada'' is not the mere representation of the devils in a defined space, but constitutes the cultural heritage of the city of Oruro with specific actors and environment.<ref name="DiablosDiabladas">[[#refDiablosDiabladas|Echevers Tórrez 2009]]</ref>
-====Uru roots theory====
+===Spanish influence===
+[[File:Diablada autentica oruro.jpg|thumb|"Struggle of the Diablada" as performed during the [[Carnival of Oruro]].]]
+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 [[Catalonia|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 [[Michael (archangel)|archangel Saint Michael]] and is first known to have been performed in 1150.<ref name="RiusIMercade">[[Diablada#refRiusIMercade|Rius I Mercade 2005]]</ref><ref name="FortunP23">[[Diablada#refFortun1961|Fortún 1961]], p. 23.</ref> 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.<ref name="RiusIMercade" />
+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.<ref>[[#refFortun1961|Fortún 1961]], p. 24.</ref> 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.<ref name="Garcilaso">{{cite book|author=De la Vega, Garcilaso|url=https://books.google.com/books?id=hro5nwgWxvoC&q=suli|title=Comentarios Reales|author2=Serna, Mercedes|publisher=Editorial Castalia|year=2000|isbn=84-7039-855-5|edition=2000|series=Clásicos Castalia|volume=252|location=Madrid, Spain|pages=226–227|language=es|trans-title=Royal Commentaries|chapter=XXVIII|oclc=46420337|author-link=Inca Garcilaso de la Vega|orig-date=1617|chapter-url=https://books.google.com/books?id=hro5nwgWxvoC&pg=PA224}}</ref> 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.<ref name="ArancibiaAndrade">{{cite interview |last=Arancibia Andrade |first=Freddy |title=Investigador afirma que la diablada surgió en Potosí <nowiki>[Investigator affirms that the ''Diablada'' emerged in Potosí]</nowiki> |url=http://www.la-razon.com/versiones/20090820_006825/nota_253_864270.htm |language=es |location=La Paz, Bolivia |date=20 August 2009 |access-date=2 October 2009 |archive-url=https://web.archive.org/web/20090904134937/http://www.la-razon.com/versiones/20090820_006825/nota_253_864270.htm |archive-date=4 September 2009 }}</ref><ref name="Nicomedes">[[#refSantaCruz2004|Santa Cruz, 2004]], p. 285.</ref> Andrade has also proposed a similar process among striking miners in 1904 as the origin of the modern version of the Diablada.<ref name="ArancibiaAndrade" />
-After the declaration of the ''Carnaval de Oruro'' as one of the Masterpieces of the Oral and Intangible Heritage of Humanity in 18 May 2001, the [[UNESCO]] delegated their ex-ambassador in Bolivia, Ivés de la Goublaye de Menorval, the task to be the moderator of the project and handed a form to the Bolivian authorities to be filled in coordination with historians and folklorists, such as Ramiro Condarco Morales, Mario Montaño Aragón, Fernando Cajías, Alberto Guerra Gutiérrez, Javier Romero, Elías Delgado, Carlos Condarco Santillán, Marcelo Lara, Zenobio Calizaya, Zulma Yugar, Walter Zambrana and Ascanio Nava.
+=== Post-independence period ===
-The document elaborated by this group is based in the theory that the modern ''Diablada'' has roots in the ancient rituals performed 2000 years ago by the [[Uros|Uru civilization]]. The study makes reference to a deity named [[Tiw]] who was the protector of the Urus in mines, lakes and rivers and, in the case of Oruro (or ''Uru-uru''), the owner of caves and rocky shelters. The Urus worship this deity with the ''dance of the devils'' being the ''Tiw'' himself the main character, later this name was hispanicized as ''Tío'' ({{lang-en|uncle}}), and as product of the [[syncretism]], the ''Tiw'' represented the figure of the [[devil]] regretting and becoming devotee of the [[Virgin of Socavón]].<ref>[[#refUNESCOform|A.C.F,O. 2001]], p.3.</ref>
+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.<ref name="Salles-ReesePP166-167">[[Diablada#refSalles-Reese|Salles-Reese 1997]], pp. 166-167.</ref> During the [[Bolivian War of Independence]], the main religious festival honoring the [[Virgin of Candelaria|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.<ref name="HarrisPP205-211">[[#refHarris2003|Harris 2003]], pp. 205-211.</ref>
-During the times of the [[Tahuantinsuyu]], the four administrative entities known as ''[[suyu]]s'' had their own representative dances during the [[Ito festival]], a festivity once celebrated throughout the entire empire but, according to the historian José Mansilla Vázquez, who based on manuscripts of [[Fray Martín de Murúa]], says that these festivities were outlawed during the [[Viceroyalty of Peru]] with the exception of [[Oruro, Bolivia|Oruro]] which, for being considered an important miner city in the 16th century, counted with some privileges  and the Spanish authorities looked to the other way allowing this festivity persist in this city, adapting itself later into the Spanish traditions between the ''[[Carnestolendas]]'' and the ''[[Corpus Christi]]'' becoming into the Carnaval of Oruro over the centuries.<ref name="UNESCOformPP10-17">[[#refUNESCOform|A.C.F,O. 2001]], pp.10-17.</ref>
-The ancient authors, Fray Martín de Murúa and [[Felipe Guaman Poma de Ayala]] make reference in their works to the different dances of the area, including the dance of the ''[[Llama llama]]'', name given by the [[Aymara]]s to refer to the [[Uros|Urus]] dressed as dancing demons, as it was recorded by [[Ludovico Bertonio]]. This dance was performed during the Ito festivities by the representatives of the region known as [[Urucolla]], a sub-region of the south-eastern ''suyu'' of [[Collasuyu]] located in the lake system of the [[Department of Oruro]] between the basins of the lakes [[Poopó Lake|Poopó]] and [[Coipasa lake|Coipasa]], where the Uru civilization had the city of Oruro as their main social centre, becoming together with [[Nazca]] and [[Wari ruins|Wari]] one of the most ancient cities in the [[Andes|Andean world]].<ref name="UNESCOformPP10-17" /><ref>[[#refGuamanPoma1615|Guaman Poma de Ayala 1615]], p.235.</ref>
-The supporters of this theory consider that the [[Uru mythology]] is reflected in the symbolism of the ''Diablada''. The legend behind the importance of the city of Oruro as an ancient sacred place for the Urus tells the story of the [[chthonic]] deity [[Wari (Uru god)|Wari]], which in the [[Uru language]] means ''soul'' ({{lang-ure|hahuari}}). He, after hearing that the Urus were worshiping [[Pachacamaj]], represented by [[Inti]], unleashed his revenge by sending plagues of [[ant]]s, [[lizard]]s, [[toad]]s and [[snake]]s, animals considered sacred in the Uru mythology. But they were protected by the [[Ñusta]] who adopted the figure of a [[condor]], defeating the creatures petrifying them and becoming sacred hills in the four cardinal points of the city of Oruro;  these animals are also often represented in the traditional masks of the ''Diablada''.<ref name="MineTiw">{{cite web |url=http://www.islabahia.com/arenaycal/2009/156_enero/javier_claure_156.asp |title=El Tío de la mina |author={{aut|Claure Covarrubias,Javier}} |date=January 2009 |publisher=Arena y Cal, revista literaria y cultural divulgativa |location=Stockholm, Sweden |language=Spanish |trans_title=The Uncle of the mine |accessdate=13 January 2010}}</ref><ref name="UruMyth">{{cite web |url=http://www.micarnaval.net/mitologia.htm |title=Mitología andina de los urus |author={{aut|Ríos, Edwin}} |year=2009 |publisher=[http://www.micarnaval.net MiCarnaval.net] |location=Oruro, Bolivia |language=Spanish |trans_title=Andean mythology of the Urus |accessdate=13 January 2010}}</ref><ref name="DiabladaOrigOruro">{{cite web |url=http://www.micarnaval.net/origen_diablada.htm |title=La Diablada originada en Oruro - Bolivia |author={{aut|Ríos, Edwin}} |year=2009 |publisher=[http://www.micarnaval.net MiCarnaval.net] |location=Oruro, Bolivia |language=Spanish |trans_title=The ''Diablada'' originated in Oruro - Bolivia |accessdate=13 January 2010}}</ref>
-====Aymaran roots theory====
-The Punean scholars who defend the theory of [[Juli District|Juli]], identify the roots of this dance with the [[Aymara]]n traditions of the [[Lupaca]]s. The director of the cultural group ''Yuyachkani'' of Peru, Miguel Rubio Zapata, during an interview in 2007 with the Punean mask maker, Edwin Loza Huarachi, proposes linking the [[Diablada  Puneña]] with the myth of the [[Anchanchu]], a demon in the folklore of the [[Aymara people]] in [[Bolivia]] and [[Peru]].<ref name="RubioZapata" /><ref>{{cite encyclopedia |author={{aut|Lindemans, Micha}} |encyclopedia=Encyclopedia Mythica Online |title=Anchanchu |url=http://www.pantheon.org/articles/a/anchanchu.html |accessdate=19 January 2010 |date=28 July 2004}}</ref>
-This iconography was adopted in [[Puno]] during the [[Fiesta de la Candelaria (Puno)|Candlemas festivity]] by the mask makers in this city during the last half of the 20th century, in the past the masks were imported from the Bolivian mask maker Antonio Vizcarra and had the Uru iconography. But after Alberto and Ramón Velásquez established the first Punean mask workshops in Puno in 1956, this art followed different paths.<ref name="CuentasOrmachea2009" />
-Even though the Punean masks still use ants, lizards, toads and snakes, some differences were introduced. The main one is the colour of the masks, the Punean variation of the dance contains two new characters, the golden ''Anchanchu'' ({{lang-ay|Q'ori Anchanchu}})  and the silver ''Anchanchu'' ({{lang-ay|Q'olqe Anchanchu}}). These characters wear a full golden or silvered mask.<ref name="RubioZapata" />
-===Spanish influence===
-One of the most referenced studies about the ''Diablada'' is the 1961 book of [[Julia Elena Fortún]], ''La danza de los diablos'' (The dance of the devils), in which the theory of a relationship between this dance and a [[Catalonia]]n dance named ''[[Ball de diables]]'', was suggested; more specifically with the elements used in the localities of [[Penedès]] and [[Tarragona]].<ref name="FortunP23">[[#refFortun1961|Fortún 1961]], p. 23.</ref><ref name="RiusIMercade">[[#refRiusIMercade|Rius I Mercade 2005]]</ref> Julia Elena Fortún, unlike other historians in the Peruvian side, disagrees with the idea of considering the ''Diablada'' as a product of the introduction of the [[autos sacramentales]] in the Andes, because among the ones studied by her, the thematic of the devil and his temptations was not contemplated. <ref>[[#refFortun1961|Fortún 1961]], p. 24.</ref>
+The first institutionalized Diablada dance squad was the Gran Tradicional y Auténtica Diablada Oruro, founded in Bolivia in 1904 by Pedro Pablo Corrales.<ref name="Pre-ColumbianUrus3">{{cite news|date=9 August 2009|title=La diablada orureña se remonta a la época de los Urus precoloniales|language=es|trans-title=The ''Diablada'' of Oruro goes back to the times of the Pre-Columbian Urus|newspaper=[[La Razón (La Paz)|La Razón]]|location=La Paz, Bolivia|url=http://co.wradiofm.com/nota.aspx?id=858474|access-date=9 April 2010|archive-url=https://web.archive.org/web/20110813192031/http://co.wradiofm.com/nota.aspx?id=858474|archive-date=13 August 2011|df=dmy-all}}</ref> That squad established a counterpart called the Los Vaporinos in Peru in 1918.<ref name="CuentasOrmacheaPP35-362">[[Diablada#refCuentasOrmachea1986|Cuentas Ormachea 1986]], pp. 35–36, 45.</ref> A squad from Bolivia was invited to travel to the [[Fiesta de La Tirana|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]].<ref name="MemoriaChilena2">{{cite web|year=2004|title=El folclor de Chile y sus tres grandes raíces|trans-title=The Chile's folklore and its three great roots|url=http://www.memoriachilena.cl/temas/dest.asp?id=folclor3diablada|archive-url=https://web.archive.org/web/20080911231311/http://www.memoriachilena.cl/temas/dest.asp?id=folclor3diablada|archive-date=11 September 2008|access-date=9 December 2009|publisher=Memorias Chilenas|language=es|df=dmy-all}}</ref> 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.<ref name="UNESCO3">{{cite web|year=2001|title=Bolivia (Plurinational State of) - Information related to Intangible Cultural Heritage|url=http://www.unesco.org/culture/ich/index.php?lg=EN&cp=BO|access-date=3 October 2009|publisher=[[UNESCO]]|quote=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.}}</ref> In 2004, the Bolivian government awarded high national honors to the Gran Tradicional y Auténtica Diablada Oruro for its 100th anniversary.<ref name="CondorDeLosAndes2">{{cite web|year=2009|title=La Diablada De Oruro, máscara danza pagana|trans-title=The ''Diablada'' of Oruro, mask pagan dance|url=http://ecuador.macroclasificado.com/clasificado/698500.html|archive-url=https://web.archive.org/web/20110714013140/http://ecuador.macroclasificado.com/clasificado/698500.html|archive-date=14 July 2011|access-date=9 December 2009|language=es|df=dmy-all}}</ref>
-====''Ball de diables'' theory====
-The ''Ball de diables'' has origins in a 12th century [[entremés]] representing the struggle between the good and the evil where the figure of the [[Michael (archangel)|archangel Saint Michael]] and his angels battled the forces of evil represented by [[Lucifer]] and his demons. This act was performed in the wedding banquet of the [[Barcelona county|Barcelona count]], [[Ramon Berenguer IV, Count of Barcelona|Ramón Berenguer IV]] with the [[Petronila of Aragón|princess Petronila]], daughter of the king of [[Aragón]] and [[Catalonia]] in the year 1150. <ref name="RiusIMercade" />
+==Choreography==
-In a study presented in 2005 by the Catalonian scholar Jordi Rius i Mercade, member of the ''Ball de Sant Miquel i Diables de la Riera'' (board of the ''Ball de diables'' in Spain) and editor in chief of the specialized magazine ''El Dragabales'' during the Symposium of the Catalonian Discovery of America, states that the traditional dances and short plays performed during the celebration of [[Corpus Christi]] in [[Spain]] were adopted by the [[Christian church]] to teach their doctrines to the native Americans; their festivities were readapted to the new calendar and their deities were redefined acquiring demoniac forms representing the evil fighting against the divine power. According to Rius i Mercade, the ''Ball de diables'' was the most suitable for this purpose. In this study, he identifies three Latin American dances that contain similar elements to the Catalonian ''Ball de diables''; the ''Diablada'' of [[Oruro, Bolivia|Oruro]], ''[[Baile de Diablos de Cobán]]'' in [[Guatemala]] and ''[[Danza de los diablicos de Túcume]]'' in [[Peru]].<ref name="RiusIMercade" />
+[[File:Trajesdeluces207.jpg|231px|thumb|right|Diablada dancers in Puno, Peru.]]
+In its original form, the dance was performed with music by a band of Sikuris, who played the [[Siku (instrument)|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, [[angel]]s and [[demon]]s 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.<ref name="FortunChoreograph">{{cite book |author=Fortún, Julia Elena   |author-link=Julia Elena Fortún |title=La danza de los diablos |trans-title=The dance of the devils |url=https://books.google.com/books?id=lcVYAAAAMAAJ&q=La+danza+de+los+diablos+%3A+danzas+populares+bolivianas |trans-chapter=Current choreography of the devils dance |chapter=Actual coreografía del baile de los diablos |chapter-url=http://ww2.atlasdeladiversidad.net/docs/escuelas/escuela322/gruposclase/grupoclase830/retratos/retrato13056/actual_coreografia_de_la_diablada.doc |format=DOC |series=Autores bolivianos contemporáneos |volume=5 |year=1961 |publisher=Ministerio de Educación y Bellas Artes, Oficialía Mayor de Cultura Nacional |location=La Paz, Bolivia |language=es |oclc=3346627}}</ref>
+==Music==
-The ''Diablada'' of Oruro represents the tale of the struggle between the archangel Saint Michael and Lucifer, the she-devil [[China Supay]] and devils accompanying them. Ruis i Mercade suggests that this was a tale presented by the parish priest Ladislao Montealegre of the city of Oruro in 1818 inspired in the Catalonian ''Ball de diables''.<ref name="RiusIMercade" />
+[[File:Musica diablada 1862 oruro.svg|thumb|center|alt=A partiture of a Diablada tune.|1862 partiture of a ''Diablada'' tune named ''Déjame'' by the composer Froilán Zevillano of the [[Poopó Province]] in [[Oruro, Bolivia|Oruro]], [[Bolivia]].|upright=2.0]]
+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".<ref name="FortunChoreograph" /> Since the second half of the 20th century, dialogue is omitted so the focus is only on the dance.<ref>[[#refGisbert|Gisbert 2002]], p. 9.</ref>
+==Regional variations==
-====''Autos sacramentales'' Theory====
-In 2003, the newspaper [[Correo (Puno)|Correo]] and the Asociación Nativa Puno (Native Association Puno) of [[Peru]] started a campaign to promote alternative theories to the previous ones that identified its origins in the city of [[Oruro, Bolivia|Oruro]] locating, instead, its origins in the Peruvian region of [[Puno Region|Puno]]. The coordinator of cultural activities of the Native Association Puno, José Morales Serruto,  suggests that the dance of the ''Diablada'' was originated in the Peruvian city of [[Juli, Peru|Juli]] during a representation of the [[autos sacramentales]] in the year 1576 to the [[Aymara]]n kingdom of the [[Lupaca]]s. <ref name="Manzana" />
+=== ''Diablada Puneña'' (Peru) ===
-This representation was documented in the 17th century book ''Comentarios Reales'' of [[Inca Garcilaso de la Vega]] where it reads:<ref name="Garcilaso">{{cite book |author={{aut|De la Vega, Garcilaso}} |authorlink=Inca Garcilaso de la Vega |coauthor={{aut|Serna, Mercedes}} |title=Comentarios Reales |trans_title=Royal Commentaries |url= http://books.google.com/books?id=hro5nwgWxvoC&vq=suli&hl=es&source=gbs_navlinks_s |edition=2000 |series=Clásicos Castalia |volume=252 |year=2000 |origyear=1617 |publisher=Editorial Castalia |location=Madrid, Spain |language=Spanish |isbn= 8470398555 |oclc= 46420337 |pages=226-227 |trans_chapter= |chapter=XXVIII |chapterurl= http://books.google.com/books?id=hro5nwgWxvoC&lpg=PA227&vq=Sulli&dq=isbn%3A8470398555&hl=es&pg=PA224#v=onepage&q=&f=false}}</ref>
+[[File:Diablos Caporales from Puno, Peru.png|thumb|''Diablos'' from Puno, Peru.|228x228px]]
+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 people|Aymara]] traditions.<ref name="RubioZapata" /><ref name="McFarrenChoqueGisbert" /> Some additional influences from the cult of the [[Mary, mother of Jesus|Virgin Mary]] were added in the following century.<ref name="Manzana"/> 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 (Puno)|Fiesta de la Candelaria]] in 1965. However, the Peruvian versions continue to feature homegrown figures like [[Superman]], [[Native Americans in the United States|American Indians]], [[Mexican people|ancient Mexicans]], and characters from popular films.<ref name="CuentasOrmachea2009">{{cite news |title=Diablada: coreografía, vestimenta y música|author=Cuentas Ormachea, Enrique   |author-link= Enrique Cuentas Ormachea|url=http://www.losandes.com.pe/Cultural/20090823/26162.html|newspaper=[[Los Andes (Puno)|Los Andes]]|location=Puno, Peru|date=23 August 2009|access-date=24 October 2009 |language=es |trans-title=''Diablada'': choreography, clothing and music}}</ref>
+The costumes used in the Peruvian Diablata also include influences from [[Tibet]] as well as elements from [[Pre-Columbian Peru|pre-Columbian Peruvian]] cultures such as [[Cerro Sechín|Sechin]], [[Chavín culture|Chavin]], [[Nazca]], and [[Moche (culture)|Mochica]].<ref name="RubioZapata" /> Homegrown masks were produced and sold in Peru starting in 1956.<ref name="JiménezBorja">{{cite book |author=Jiménez Borja, Arturo   |editor=Fundación del Banco Continental para el Fomento de la Educación y la Cultura |title=Máscaras peruanas |trans-title=Peruvian masks |url=https://books.google.com/books?id=fG1uAAAAMAAJ |access-date=24 October 2009 |year=1996 |location=Lima, Peru |language=es}}</ref> Music for the dance was originally performed on the [[Siku (instrument)|siku]],<ref name="MUSEF">{{cite book |author=Museo Nacional de Etnografía y Folklore (Bolivia) |editor=MUSEF |title=Serie anales de la reunión anual de etnología |trans-title=Records of the annual reunion of ethnology series |url=https://books.google.com/books?id=YLsNAAAAYAAJ |access-date=24 October 2009 |volume=2 |year=2003 |publisher=MUSEF |location=La Paz, Bolivia |language=es}}</ref> but that was later replaced by percussionists known as Sicu-Morenos.<ref name="CuentasOrmachea2009" />
-{{cquote|The argument about those words of the book of Genesis: "I shall put enmities between you and the woman, etc... and she will break your head herself". Being represented by young Indians and boys in a town named Sulli. And in Potosí  a dialog of faith was recited, for which more than twelve thousand Indians were present. In the Cuzco another dialog was represented about the Child Jesus, where all the greatness of that city was felt. Other was represented in the city of Kings, in front of the chancellorship and all the nobility of the city and  innumerable Indians...|4=Inca Garcilaso de la Vega|5=''Comentarios Reales''}}
+=== ''Fiesta de La Tirana'' (Chile) ===
-This same information is used by other authors, such as the Peruvian scholar [[Nicomedes Santa Cruz]] and the Bolivian anthropologist Freddy Arancibia Andrade, to suggest that the Spanish influence was spread to Oruro from the southern Bolivian region of [[Potosí Department|Potosí]]. Andrade considers that the ''Diablada'' recovers the steps of rebellion and combat of the ritual of [[Tinku]] mixed with the biblic vision introduced by the Spanish conquerors in the miner region of [[Aullagas]] starting in the year 1538.<ref name="Nicomedes">[[#refSantaCruz2004|Santa Cruz, 2004]], p. 285.</ref><ref name="ArancibiaAndrade">{{cite interview |last=Arancibia Andrade |first=Freddy |title=Investigador afirma que la diablada surgió en Potosí <nowiki>[Investigator affirms that the ''Diablada'' emerged in Potosí]</nowiki> |url=http://www.la-razon.com/versiones/20090820_006825/nota_253_864270.htm |callsign=(in Spanish). |city=La Paz, Bolivia |date=20 August 2009 |accessdate=2 October 2009}}</ref>
+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]].<ref name="NorthDancesCL">{{cite web|url=http://www.hamaycan.cl/danzasceremoniales.htm |title=Danzas ceremoniales del área cultural del Norte |publisher=Hamaycan |location=Chile |language=es |trans-title=Ceremonial dances of the northern cultural area |access-date=8 April 2010 |archive-url=https://web.archive.org/web/20090609105439/http://www.hamaycan.cl/danzasceremoniales.htm |archive-date=June 9, 2009 }}</ref> The festival is descended from the celebrations for the [[Our Lady of Mount Carmel|Virgin of Carmen]] that began in 1540.<ref name="NorthDancesCL" />
+==See also==
-Another piece of information collected by Andrade is that in 1780 the army of [[Tomás Katari]] wore demon suits to attack the towns of Macha, Pocoata, Colquechaca, Aullagas and San Pedro de Buena Vista, giving more strength to the syncretism and represents the appearance of the tinku-devil. After the silver era in Bolivia, the miners went to  [[Uncía, Bolivia|Uncía]] to work for the tin company of [[Simón Iturri Patiño]] and during the [[Federal war (Bolivia)|Bolivian federal war]], the miners migrated to Oruro where in 1904 they were allowed to dance for the [[Virgin of Socavón]].<ref name="ArancibiaAndrade" />
+*[[Carnaval de Oruro]]
-===Colonial history===
+*[[Fiesta de la Candelaria (Puno)|Fiesta de la Candelaria]]
-During the [[Spanish empire|colonial times]] in the region, from the 15th century till the first half of the 19th century, the ancient Andean beliefs were blended with the new Christian traditions. The traditions adopted new iconography and the celebrations adopted a new meaning during the [[Latin American wars of independence]].
+*[[Fiesta de La Tirana]]
+==References==
-====From the worship of the Sun to the Virgin of Candlemas====
+{{Reflist}}
-With the advent of the [[Religion in the Inca Empire|Inca state religion]] the inhabitants of the [[Isla del Sol|Island of the Sun]] ({{lang-es|Isla del Sol}}) were replaced by ministers in worship of the sun ([[Inti]]) and the city of [[Copacabana, Bolivia|Copacabana]] located in the Bolivian side of the [[Lake Titicaca]] had been repopulated by forty-two different nations of [[mitimae]]s and became one of the most important landmarks for the constant pilgrimage to the sanctuary; with the migration, two social classes were created in this area, the newcomers became ''[[Anansaya]]'' (upper) and the indigenous people ''[[Urinsaya]]'' (lower).<ref name="Salles-ReesePP166-167">[[#refSalles-Reese1997|Salles-Reese 1997]], pp. 166-167.</ref>
+{{refbegin}}
+'''Articles:'''
+*{{cite news |title=Dance of the Devils |url=http://yareah.com/2013/10/2309-dance-devils-artist-charlene-eckels/ |author=Eckels, Charlene |author-link=Eckels Charlene |magazine=[[Yareah]] |location=New York, New York |date=17 October 2013 |access-date=27 October 2013 |trans-title=Dance of the Devils |ref=refBolivia |archive-url=https://web.archive.org/web/20131029201239/http://yareah.com/2013/10/2309-dance-devils-artist-charlene-eckels/ |archive-date=29 October 2013 |df=dmy-all }}
+*{{cite news|title=La diablada orureña ya era noticia en el siglo XIX |url=http://www.la-razon.com/versiones/20090823_006828/nota_269_865807.htm |author=Cajías, Fernando |author-link=Fernando Cajías |newspaper=[[La Razón (La Paz)|La Razón]] |location=La Paz, Bolivia |date=23 August 2009 |access-date=10 December 2009 |language=es |trans-title=The ''Diablada'' of Oruro was already news in the 19th century |ref=refOruro19thCentury |archive-url=https://web.archive.org/web/20090927151233/http://www.la-razon.com/versiones/20090823_006828/nota_269_865807.htm |archive-date=September 27, 2009 }}
+*{{cite journal|author=Cuentas Ormachea, Enrique|author-link=Enrique Cuentas Ormachea|date=March 1986|title=La Diablada: Una expresión de coreografía mestiza del Altiplano del Collao|trans-title=The ''Diablada'': A mixed race choreographic expression of the Altiplano in the Collao|journal=Boletín de Lima|volume=year 8|issue=44|publisher=Editorial Los Pinos|location=Lima, Peru|issn=0253-0015|url=http://www.unet.univie.ac.at/~a9750175/spanisch/diablada_punenia.htm|language=es|format=PNG|access-date=November 24, 2009|ref=refCuentasOrmachea1986|archive-url=https://web.archive.org/web/20100616140036/http://www.unet.univie.ac.at/~a9750175/spanisch/diablada_punenia.htm|archive-date=June 16, 2010|df=mdy-all}}
+*{{cite news |title=Sobre diablos y diabladas, A propósito de apreciaciones sesgadas |author=Echevers Tórrez, Diego   |url=http://www.lapatriaenlinea.com/index.php?nota=3543 |newspaper=[[La Patria (Oruro)|La Patria]] |location=Oruro, Bolivia |date=3 October 2009 |access-date=8 January 2010 |language=es |trans-title=About devils and ''Diabladas'', speaking about biased interpretations|ref=refDiablosDiabladas}}
+*{{cite web |url=http://www.cholonautas.edu.pe/modulo/upload/gisbert.pdf |title=El control de lo imaginario: teatralización de la fiesta |author=Gisbert, Teresa |author-link=Teresa Gisbert |date=December 2002 |work=Módulo: Estudios de caso&nbsp;– Session 14, Lecture 3 |publisher=Instituto de Estudios Peruanos |location=Lima, Peru |language=es |trans-title=The control of the imaginary: theatralization of the party |access-date=8 April 2010 |ref=refGisbert |archive-url=https://web.archive.org/web/20110719035729/http://www.cholonautas.edu.pe/modulo/upload/gisbert.pdf |archive-date=19 July 2011 |df=dmy-all }}
+*{{cite web |url=http://www.balldediables.org/index.php?option=com_content&task=view&id=217&Itemid=31 |title=Concomitàncies entre els balls de diables catalans i les diabladas d'Amèrica del Sud |author=Rius i Mercade, Jordi   |date=18 January 2008 |publisher=Junta del Ball de Diables www.balldediables.org |location=Tarragona, Spain |language=ca |trans-title=Concomitances between the ''Ball de diables'' and the ''Diabladas'' of South America |access-date=10 December 2009|ref=refRiusIMercade}}
+*Thomas M Landy, [https://www.catholicsandcultures.org/chile/dancing-virgin-la-tirana "Dancing for the Virgin at La Tirana"], ''Catholics & Cultures'' updated February 17, 2017
+'''Books'''
-The selection of the [[Virgin of Candelaria|Virgin of the Candlemas]] as the patroness of Copacabana was a sign of the power structures established by the Incas in the area. In the year 1582 a frost threatened to destroy the crops, and the inhabitants decided to built an altar to a Christian figure, but there was a dispute because the ''Anansayas'' insisted to use the Virgin of the Candlemas since [[Francisco Tito Yupanqui]] had already sculpted her image while the ''Urinsayas'' wanted it use the image of [[Saint Bartholomew]] instead. But the ''Anansayas''' wishes were imposed in the enthronement of the [[Virgin of Copacabana]] and the foundation of a brotherhood.<ref name="Salles-ReesePP166-167" />
+*{{cite book |author=Asociación de Conjuntos del Folklore de Oruro |author-link=Asociación de Conjuntos del Folklore de Oruro |editor=UNESCO |editor-link=UNESCO |title=Formulario de Candidatura para la proclamación del Carnaval de Oruro como Obra Maestra del Patrimonio Oral e Intangible de la Humanidad |trans-title=Candidature Form for the proclamation of the ''Carnaval de Oruro'' as Masterpiece of the Oral and Intangible Heritage of Humanity |url=http://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf |access-date=11 January 2010 |year=2001 |location=Oruro, Bolivia |language=es |ref=refUNESCOform |archive-url=https://web.archive.org/web/20091104051802/http://www.carnavaldeoruroacfo.com/documentos/FORMULARIO%20DE%20CANDIDATURA.pdf |archive-date=4 November 2009 |df=dmy-all }}
+*{{cite book |author=Fortún, Julia Elena   |author-link=Julia Elena Fortún |title=La danza de los diablos |trans-title=The dance of the devils |url=https://books.google.com/books?id=lcVYAAAAMAAJ&q=La+danza+de+los+diablos+%3A+danzas+populares+bolivianas |series=Autores bolivianos contemporáneos |volume=5 |year=1961 |publisher=Ministerio de Educación y Bellas Artes, Oficialía Mayor de Cultura Nacional |location=La Paz, Bolivia |language=es |oclc=3346627 |ref=refFortun1961}}
+*{{cite book |author=Guamán Poma de Ayala, Felipe   |author-link=Felipe Guaman Poma de Ayala |editor=Fundacion Biblioteca Ayacucho |title=El Primer Nueva Corónica y Buen Gobierno |trans-title=The First New Chronicle and Good Government |url=https://books.google.com/books?id=PPy78ZxOo28C&q=Felipe+Guam%C3%A1n+Poma+de+Ayala |volume=2 |year=1980 |orig-date=1615 |location=Caracas, Venezuela |language=es |isbn=84-660-0056-9 |oclc=8184767 |ref=refGuamanPoma1615}}
+*{{cite book |author=Harris, Max   |title=Carnival and other Christian festivals: folk theology and folk performance |url=https://books.google.com/books?id=HgWOD2ZT_A4C |series=Joe R. and Teresa Lozano Long series in Latin American and Latino art and culture |year=2003 |publisher=University of Texas Press |location=Austin, United States |isbn=978-0-292-70191-5 |oclc=52208546 |chapter=The Sins of the Carnival Virgin (Bolivia)|chapter-url=https://books.google.com/books?id=HgWOD2ZT_A4C&pg=PA205 |ref=refHarris2003}}
+*{{cite book |author=Salles-Reese, Verónica   |title=From Viracocha to the Virgin of Copacabana: representation of the sacred at Lake Titicaca |url=https://books.google.com/books?id=bFNMgrfXsUkC |edition=1 |year=1997 |publisher=University of Texas Press |location=Austin, United States |isbn=978-0-292-77713-2 |oclc=34722267 |ref=refSalles-Reese}}
+*{{cite book |author=Santa Cruz, Nicomedes   |author-link=Nicomedes Santa Cruz |title=Obras Completas II. Investigación (1958-1991) |trans-title=Complete Works II. Investigation (1958-1991) |url=https://books.google.com/books?id=Ysqz9XsfczYC |series=Obras completas, Nicomedes Santa Cruz |volume=2 |year=2004 |editor=LibrosEnRed |language=es |isbn=1-59754-014-5 |ref=refSantaCruz2004}}
+{{refend}}
+==External links==
+{{Commons category|Diablada}}
+* [http://www.minculturas.gob.bo/index.php Cultures Ministry of Bolivia] {{Webarchive|url=https://web.archive.org/web/20091011044830/http://www.minculturas.gob.bo/index.php |date=2009-10-11 }} {{in lang|es}}
+* [http://www.carnavaldeoruroacfo.com/acfo.html Folklore's Group Association - Oruro] {{in lang|es}}
+* [https://web.archive.org/web/20090118152107/http://www.inc.gob.pe/ National Culture Institute - Peru] {{in lang|es}}
+[[Category:Masked dances]]
-[[es:Diablada]]
+[[Category:Bolivian dances]]
-[[fr:Diablada]]
+[[Category:Chilean dances]]
-[[qu:Diablada]]
+[[Category:Peruvian dances]]
-[[simple:Diablada]]
+[[Category:Native American dances]]
+[[Category:Ritual dances]]
+[[Category:Carnivals in Bolivia]]
+[[Category:Festivals in Peru]]
+[[Category:Carnival music]]

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