DOCUMENTAL - ORIGEN DE LA DIABLADA

Origin and Characteristics of the Diablada Dance

Introduction to Diablada

• The research focuses on the origins of the Diablada dance, exploring whether it is Chilean, Bolivian, or Peruvian in origin. It aims to uncover the roots of its main characteristics, including rhythm, masks, and etymology.

Etymology and Historical Context

• The term "diablada" originated in Bolivia in 1944 when a devil dance group from Oruro performed for President Gualberto Villarroel. This marked the formal naming of their dance as "diablada."

Masks and Their Origins

• The most recognized mask features large eyes and is used across Bolivia, Chile, and Peru. Notably, the Peruvian government promotes this mask as part of its cultural heritage.

• The large-eyed mask was created by Honduran artist Pánfilo Flores in the early 1930s specifically for the Oruro Carnival. This design continues to be reproduced by his descendants.

Comparison of Masks Across Countries

• A comparison shows distinct differences among masks from Chile (Suelto), Peru (Puno), and Bolivia (Oruro). Despite being from similar eras, they exhibit unique designs.

Coexistence of Cultural Elements

• A symbolic photograph captures a Chilean and a Bolivian devil together at La Tirana festival, illustrating cultural coexistence during this event.

Choreography Evolution Over Time

Choreographic Traditions in Chile

• In Chile, the Suelto originally represented a theatrical figure based on local legends but has evolved to resemble Bolivian styles over time.

Changes in Dance Roles

• With influences from Bolivia arriving in Chile during significant migration periods, traditional roles within dances shifted. Religious aspects diminished as new styles emerged.

Bolivia's Consistent Dance Tradition

Stability in Choreography

• Since the 1940s, Bolivian diablos have maintained consistent choreography characterized by marching steps and jumps without substantial changes to characters or masks.

Peru's Adaptation of Diablada Dances

Lack of Specificity

• There is no specific record of devil dances in Peru from the 1940s; however, contemporary performances often mimic Bolivian styles while lacking understanding of original forms.

Musical Influences on Diablada

• The genre music associated with diablada incorporates modified Napoleonic marches into its structure since 1845.

Musical Development Across Regions

Evolution of Musical Styles

• Initially featuring indigenous melodies in Peru that were later replaced by Bolivian diabladas; notable shifts occurred with Peru’s first diablada song published in 2006 titled "Rosa Roja."

Cultural Appropriation of Diablada: A Comparative Analysis

Historical Context of Diablada in Bolivia and Peru

• The distance of over 100 years between Bolivia and Peru regarding the music of Diablada is highlighted, emphasizing the need to review Bolivian discography related to this dance.

• It is concluded that Diablada, as a word, dance, and musical genre, has a republican origin in Bolivia, alongside its characteristic mask.

Conflicts Over Cultural Ownership

• Bolivia claims originality over the Diablada dance while Chile acknowledges Bolivian influence; however, Peru dances to Bolivian rhythms without recognizing their origins.

• Peruvian researchers often use false sources to justify cultural appropriation by misrepresenting the context of Diablada's characteristics such as masks, choreography, and music.

Governmental Actions in Peru

• Significant events include the declaration of "Diablada Puneña" as national heritage in 2021 and a Miss Universe contestant wearing a traditional costume supported by President Alan García in 2009.

• Peruvian congress members have claimed that Diablada is not solely Bolivian but rather a shared expression among nations.

Nationalist Sentiments Behind Appropriation

• In 2009, statements from the Peruvian president reflected nationalist views on cultural ownership stemming from historical ties when it was known as Alto Perú.

• These sentiments are echoed by many within the Peruvian government who believe that much of South America's culture belongs to Peru due to historical claims.

Reflection on Cultural Appropriation

• The discussion calls for reflection against cultural appropriation practices where the essence of Bolivian artistic expression through Diablada is overlooked or misrepresented.