La Bolivianizacion verdadero origen de la DIABLADA Bolivia y Diablada Puneña del Plagio al Fracaso

Introduction to the Presentation

Opening Remarks

• The speaker welcomes attendees at the artistic and cultural fraternity, expressing honor in addressing them.

• Introduction of researcher Mauricio Alfaro Arnés, who will present on topics including "La Diablada," Bolivianization, and a tribute to Francisco Corrales.

Mauricio Alfaro Arnés: Background and Research Focus

Personal Introduction

• Mauricio thanks Edon Morellana for his presence despite carnival activities, emphasizing the importance of this presentation.

• He highlights his dedication over four years to researching "La Diablada," along with other dances like Caporal and Salay.

Collaboration with Francisco Corrales

• Acknowledges Francisco Corrales Mendoza's contribution to reconstructing genealogical history through ecclesiastical documentation.

• Emphasizes correcting historical inaccuracies using verified data from Catholic Church records.

Cultural Significance of La Diablada

Understanding Cultural Roots

• Mauricio shares his background as an engineer passionate about historical research influenced by family traditions.

• He expresses gratitude towards those supporting cultural research within the fraternity.

Key Themes in Research

• The focus is on understanding not just the dance but also its cultural significance and origins.

• Discussion on Bolivianization and chronology related to La Diablada, addressing misconceptions about its origins.

Historical Context of La Diablada

Misconceptions About Origins

• Clarifies that La Diablada is not an Aymara dance but originates from Uru culture, which inhabited areas around Oruro.

Cultural Geography

• Describes geographical boundaries where various cultures existed, including Uru settlements near Lake Poopó and interactions with neighboring groups like Caracaras and Huachacayas.

Critique of Historical Maps

Errors in Representation

• Critiques a map depicting Aymara nation as misleading; asserts it inaccurately represents diverse cultures in the Altiplano region.

Cultural Diversity

• Highlights significant differences between cultures such as Chicheños and Pacajes, stressing that they should not be generalized under one label.

Cultural Divisions and Historical Context in the Altiplano

Distinct Cultures of the Altiplano

• The altiplano is characterized by diverse cultures, such as the Urus and those around Lake Titicaca, highlighting significant cultural differences among groups like the Haichinos, Chicheños, Lamparas, and Caracaras.

• Cultural borders in the altiplano are more pronounced than national borders; for instance, the Charcas region is less discussed but holds a unique identity distinct from other areas.

• The Charcas people primarily speak Puquina rather than Aymara or Quechua, showcasing linguistic diversity within Bolivia.

Historical Linguistic Changes

• During colonial times, many Charcas were assimilated into Quechua and Aymara cultures, leading to a decline in the use of Puquina; however, some remnants remain today.

• Place names and cultural references in the region often derive from Puquina language roots, indicating its historical significance.

Misconceptions About Cultural Identity

• The term "altiplánico" is considered anachronistic when discussing history since it only emerged in the early 20th century.

• Américo Valencia Chacón's research challenges common perceptions about Puno being Peru's folkloric capital due to its modern mestizo dance ensembles that have Bolivian origins.

Folklore and Dance Origins

• Valencia asserts that all dances labeled as "trajes de luces" (costumed dances) in Puno originate from Bolivia; this includes popular dances like Caporales and Morenos.

• A chronological map illustrates various documents revealing how these cultural exchanges occurred over time between Peru and Bolivia.

Syncretism of Religion and Culture

• The arrival of Augustinian missionaries in 1559 led to a syncretism between Catholic beliefs and indigenous Uru spirituality still evident today through practices at sacred sites.

• This blending of traditions resulted not only in new religious identities but also influenced local customs such as dance forms emerging from this cultural interaction.

Evolution of Dance Traditions

• By 1720, records indicate early manifestations of dance costumes related to local folklore began appearing; however, formalized dances did not emerge until later.

• The Diablada dance has documented origins dating back to 1789. It highlights ongoing debates regarding its true roots—Bolivian versus Peruvian interpretations—emphasizing its Bolivian heritage.

This structured summary captures key insights from the transcript while providing timestamps for easy reference.

Cultural Origins and Historical Context of the Diablada

Overview of Diablada's Cultural Significance

• The discussion begins with the creation of various cultural groups, including mariners from Kiticaca and Sicomoreno de Mañazo, highlighting their connection to La Paz.

• The speaker raises questions about the role of Jesuit doctrine in relation to the Diablada dance, referencing Peruvian historian Juan Palastein's insights.

Historical Claims and Controversies

• Acknowledgment that a devil dance existed in Puno, Peru; however, its origins are debated among researchers.

• The speaker critiques a program called "Vive Candelaria," which claims that the Diablada is Bolivian and originated in 1962, asserting that this narrative lacks historical accuracy.

Colonial History and National Identity

• Clarification that during colonial times, Bolivia was part of Alto Perú; thus, the Diablada's roots trace back to 15th-century Jesuit evangelization efforts.

• Emphasis on how national identities (Bolivia vs. Peru) were not established during colonial times as both nations did not exist then.

Documentation and Research Validity

• Critique of using "Alto Perú" as a valid legal term; it is described as an informal nickname rather than an official designation within Spanish imperial documentation.

• The speaker stresses the importance of credible documentation over colloquial terms when discussing historical contexts.

Recommendations for Further Research

• Suggestion for researchers to consult Ludovico Bertonio’s vocabulary on the Aymara language for deeper understanding.

• Mention of Enrique Cuentas Ormaché’s contributions regarding Juli’s history but calls for evidence supporting claims about Jesuits teaching devil dances.

Critical Analysis of Current Scholarship

• Discussion on lack of evidence presented by scholars like Ricardo Arbulú regarding Jesuit influence on local dances; emphasizes need for substantiation in historical claims.

• Criticism directed at current research methodologies used by Peruvian scholars who rely on anecdotal evidence rather than rigorous ethnographic or anthropological studies.

Understanding Dance and Its Cultural Context

The Essence of Dance

• Dance is intricately linked to music; without music, dance cannot exist. This relationship highlights the fundamental understanding of both art forms.

• José Morales Cerruto, a Peruvian researcher, claims that all elements related to certain dances originate from Bolivia, including costumes and music.

• Morales argues that while Juli may be considered an origin point for some cultural expressions, it is essential to recognize Bolivia's contributions to their development.

Critical Perspectives on Cultural Claims

• Lauro Rodríguez Terceros presents a critical view suggesting that specific dances like Diablada and Morenada have roots in La Paz rather than Juli.

• Critics argue that local leaders selectively interpret historical information to support their narratives about cultural origins.

Anecdotal Evidence and Historical Accuracy

• A peculiar anecdote involves a woman claiming her father built temples in Potosí over 100 years ago, raising questions about the accuracy of such testimonies.

• The age discrepancy in her story suggests a need for careful scrutiny of historical claims made by local authorities regarding cultural heritage.

Examination of Local Literature

• Alberto Cuentas Zavala's book discusses the absence of devil-themed dances in Juli, emphasizing the need for accurate representation of cultural practices.

• The text critiques various dance forms associated with devils, clarifying that many do not fit this classification despite superficial similarities.

Historical Context and Evangelization Efforts

• The province of Chucuito has significant historical relevance due to its evangelization efforts by Dominicans and Agustinians before Jesuits arrived.

• Documentation indicates that Jesuit involvement in evangelizing the altiplano began only in 1591, contrasting with earlier efforts by other religious orders.

Economic Contributions to Cultural Heritage

• Temples in Juli were constructed using silver extracted from Potosí, highlighting economic ties between regions and their cultural developments.

• Further documentation supports claims regarding the financial resources used for constructing these temples, underscoring the interconnectedness of culture and economy.

The Role of Jesuits in Evangelization

Jesuit Presence in Chucuito

• In 1610, there were 22 temples in the province of Chucuito; only four were managed by Jesuits, indicating limited evangelization efforts.

• The claim that Jesuits evangelized the entire Altiplano is false; their activities were confined to the province of Chucuito.

Misinterpretations and Historical Evidence

• The document "Vocabulario de la lengua imara" lacks a description of devil dances, suggesting misinterpretations over time regarding cultural practices.

• The term "llamayama" has multiple interpretations but does not provide an exact translation for cultural elements like dance.

Interpretation Challenges

• Ludovico Bertonio's interpretations are based on approximations rather than direct translations, as terms like "llamayama" do not exist in European contexts.

• Bertonio's work was dedicated to the Archbishop of La Paz, highlighting administrative connections between regions during colonial times.

Carnival Traditions and Their Origins

• Claims linking Juli to the origins of the Diablada dance are disputed; historical evidence suggests otherwise.

• Ramiro Contarco Morayes clarifies that references to "diablillos" do not equate to a devil dance but rather describe children playing.

Cultural Misunderstandings and Documentation

• There is no evidence supporting that traditional dances from Oruro originated from devil dances; instead, they reflect local customs and history.

• UNESCO recognizes various dances from Oruro as distinct cultural expressions with no ties to external influences or misattributions.

Debunking Myths About Dance Origins

• Juan Paloverstein argues against historical claims about dance origins linked to myths without substantial evidence backing them up.

• Assertions about migrations influencing dance forms lack documentation and contradict existing records from the 17th century.

Misconceptions About the Diablada Dance

Historical Inaccuracies in Claims

• The speaker refutes claims that the Diablada dance arrived in Oruro in 1904, labeling this assertion as completely false.

• The argument presented about a "golden bull" and "silver bull" being linked to the dance's origins is dismissed as lacking historical foundation.

Origins of the Diablada Dance

• The term "Diablada" was only officially used from 1942, with its first presentation by a fraternity in La Paz.

• A priest named Montialegre staged a performance of the Diablada in 1944, which is cited as an important moment for understanding its history.

Documentation and Misrepresentation

• Montialegre wrote about the Diablada in 1818; however, some researchers incorrectly attribute later performances to him without proper bibliographic review.

• The speaker emphasizes the importance of correcting misinformation regarding cultural representations and historical facts.

Cultural Significance and Misinterpretations

• The European connection to the Diablada is challenged; it is argued that such associations were fabricated for theatrical presentations rather than being historically accurate.

• The aristocratic youth of Oruro initially participated in a different dance before forming their own group called "Diablada," influenced by Christian imagery.

Evolution of Dance Representation

• The horns on masks used in the dance are misinterpreted as demonic; instead, they symbolize bulls, reflecting agricultural themes rather than evil spirits.

• Historical records indicate that references to the Diablada date back to at least 1789, contradicting claims of more recent origins.

Comparative Analysis with Other Regions

• Research indicates that variations exist between Bolivian and Peruvian interpretations of the Diablada; Puno's version features animal disguises distinct from Bolivia's representation.

• Investigators note that no documented instances of Puno’s version existed before 1963, suggesting Bolivian influence on its development.

Conclusion on Cultural Integrity

• Scholars like Américo Valencia Chacún document how cultural exchanges occurred between Bolivia and Peru regarding traditional dances like Sicuri.

• Emphasis is placed on reviewing credible sources when discussing cultural histories to avoid perpetuating inaccuracies.

Introduction to the Yari Steamship and Sicuri Dance

Historical Context of the Sicuri

• The Yari steamship transported the sicuri from La Paz to Puno for the Virgen de la Candelaria presentation in 1892, marking a significant cultural event.

• The term "diablada puneña" is contested; some argue it should be referred to as "psico moreno," emphasizing its roots in traditional music rather than devil-themed dance.

Documentation and Research

• A document titled "Los tres momentos del en Puno" published by the Ministry of Cultures of Peru in 2016 or 2018 discusses these cultural elements.

• René Calcinanco's research highlights that the sicuri dance does not involve theatrical elements typical of other dances, such as those depicting biblical themes.

Evolution of Costumes and Cultural Exchange

• Early costumes for the sicuri were made in La Paz; no local production existed in Puno during the 19th and early 20th centuries.

• José María Redas' work indicates that characters from various dances merged over time, leading to a recent introduction of devil figures into traditional performances.

Recognition of Bolivian Influence

• The sicuri performance features musicians playing zampoñas, with historical photographs dating back to 1913 showing its evolution.

• Lisandro Luna's writings assert that masks associated with diablada are originally Bolivian, challenging claims about their Peruvian origins.

Development of Costume Production

• Costume manufacturing in Puno began only in the 1970s, with initial efforts documented by researchers noting a lack of local craftsmanship prior to this period.

• Evidence suggests that performers often wore second-hand costumes from Bolivia, highlighting economic disparities and cultural appropriation practices.

Key Figures and Contributions

• Fortunato Llana established one of the first costume workshops in Puno after marrying a local woman; he played a crucial role in adapting traditional attire for performances.

• Testimonies reveal how artisans provided guidance on costume usage, indicating an ongoing exchange between Bolivian traditions and local practices.

Discussion on Diablada and Cultural Heritage

Historical Context of Diablada in Puno

• Jiménez Borja, an Arequipeño, notes that only costumes and masks were made in Bolivia, stating he never saw workshops in Puno.

• A document declaring Diablada Puneña as a national heritage of Peru indicates that the first devil dancers appeared in Puno only in the late 19th century (after 1890).

• The speaker argues against claims of colonial origins for the dance, emphasizing that historical documents clarify its emergence post-colonial era.

Evidence Against Colonial Claims

• The document asserts no devil dances existed in Puno before 1890, contradicting assertions of colonial influence.

• It highlights that even by 1940, organized groups of devils began to form, with formal diabladas appearing only around 1960.

Clarification on Dance Origins

• The speaker concludes there are no traditional devil dances from Puno; instead, a loose character known as "Diablada" emerged at the end of the 19th century.

• The term "diablado" is explained linguistically; it refers to a quantity rather than a formal dance structure.

Pedro Corrales Flores: Identity and Heritage

Background Information on Pedro Corrales

• Discussion about Pedro Corrales Flores' identity reveals discrepancies regarding his nationality; family photographs are presented for context.

• His wife Juana Guzmán Crespo's birth records from the 1870s are introduced to establish familial ties and origins.

Documentation Challenges

• Details about Juana's baptismal records highlight her Cochabamba roots and connection to local history.

• Mentioned locations such as San José de Cochabamba provide geographical context relevant to their lives.

Marital Records and Significance

• Marriage documentation from April 1904 between Pedro Corrales and Juana Guzmán is discussed, emphasizing their shared Cochabamba heritage.

• Ongoing challenges with accessing church records illustrate difficulties faced when researching historical identities.

Family Documentation and Genealogy of Pedro Corrales

Importance of Family Documents

• The document establishes Pedro Corrales as a Cochabambino, detailing his lineage through his parents Manuel Corrales and Manuela Flores.

• It connects family members, including Sebastián Vela and Juana Flores, highlighting their relationships to Pedro Corrales, emphasizing the significance of familial ties in genealogy.

Verification of Origins

• All documents reviewed confirm that the family is from Cochabamba; no ecclesiastical records suggest otherwise for Pedro Corrales.

• The speaker emphasizes the authenticity of these documents, providing specific details like book numbers and page references for verification.

Document Interpretation

• The speaker discusses how certain terms used in historical documents may require interpretation for clarity, indicating a need for expertise in reading such texts.

• Additional family connections are introduced, including the marriage between Juana Guzmán and Pedro Corrales, further expanding on the family tree.

Genealogical Insights

• Discussion includes potential discrepancies regarding Paulino's birthplace; he may not be from Oruro or Cochabamba but possibly Puno due to work-related relocation.

• Emphasizes that being Bolivian is tied to heritage rather than place of birth; highlights cultural identity rooted in familial connections.

Documentation Details

• A detailed genealogical tree has been reconstructed showing relationships among various family members back to Pedro Corrales Flores.

• Specific locations where records can be found are provided, ensuring transparency and accessibility for those interested in verifying information about their ancestry.

Historical Context

• Clarifies terminology used in historical records regarding origins; "natural de esta" indicates local birth while other phrases specify different origins.

• Highlights how documentation practices varied based on locality; essential for understanding historical migration patterns within Bolivia.

Conclusion on Family Legacy

• Concludes with an affirmation of Pedro Corrales Flores' role as a foundational figure in Bolivian tradition and culture through documented evidence.

• Mentions additional roles played by family members within community traditions, reinforcing their importance beyond mere genealogy.

Manuel Corrales and His Family History

Introduction to Manuel Corrales

• The investigation into Manuel Corrales reveals connections to family members previously unknown, highlighting the importance of genealogical research.

• Pedro Corrales Flores is identified as the father of Juan Corrales Guzmán, with a baptismal certificate presented as evidence.

Francisco Corrales Mendoza's Contributions

• Francisco Corrales Mendoza is introduced as an investigator, cultural manager, teacher, and writer who has documented the history of the Gran Tradicional Auténtica de Blado.

• His research has been crucial in linking names and finding historical records necessary for understanding familial ties.

Historical Context of Pedro Corrales Flores

• Pedro Corrales Flores is recognized as the founder of the Gran Tradicional Auténtica de Blado Oruro; his contributions are rooted in a rich cultural tradition that predates him.

• The location of San Antonio de Padua temple in Cochabamba is described, providing geographical context for his life events.

Cultural Significance and Misconceptions

• Discussion on traditional attire includes references to a "pechera coniablada" adorned with a Peruvian shield, clarifying misconceptions about its origins.

• The speaker argues against claims that certain costumes are Peruvian by explaining their historical inaccuracies and lack of evidence from 1928.

Analysis of Heraldry and Costumes

• A detailed examination contrasts various shields from Oruro with those claimed to be Peruvian, emphasizing differences in design and color schemes.

• The argument continues that without scientific proof or historical documentation showing Peruvians manufactured these costumes, claims remain unsubstantiated.

Historical Interactions Between Bolivia and Peru

• Insights into Bolivian prosperity during the tin era reveal how many Peruvians came to study at Oruro’s Technical University, fostering cultural exchanges.

• The speaker reflects on social dynamics between Bolivians and Peruvians during this period, noting less classism in Bolivia compared to Lima.

Analysis of the 1907 Pechera and Its Historical Context

Discrepancies in Heraldry

• The speaker argues that the pechera from 1907 displays an incorrect representation of the Peruvian coat of arms, noting color discrepancies when compared to historical references.

• It is suggested that the emblem resembles an Oruro coat of arms more than a Peruvian one, indicating potential misattribution or confusion regarding its origins.

Examination of Historical Evidence

• The speaker highlights a common misconception among Peruvians who believe that the Diablada dance originated in 1940, emphasizing that this claim lacks supporting documentation from the 19th century.

• A photograph exists showing the pechera displayed in a museum in Oruro, which is not currently on exhibit but has been documented by local media.

Documentation and Research Findings

• The speaker mentions receiving documents from friends studying anthropology and history, which are available for public review in La Paz's library.

• There are various sketches and modifications related to regional coats of arms; however, verification through documentation is necessary to establish their authenticity.

Cultural Production Origins

• The assertion is made that all relevant garments were produced in Bolivia during the early 20th century, countering claims made by Peruvians about their origin.

• An example is provided where a Bolivian garment from 1826 features emblems associated with both Argentina and Bolivia, illustrating cross-cultural influences.

Chronological Summary of Diablada Dance History

• A rapid overview begins with significant events such as evangelization efforts by Augustinians starting in 1558 at Chalacoyo.

• Key documents are referenced that compile historical research on these events, highlighting contributions from various Bolivian researchers over time.

Artistic Heritage and Documentation

• Notable artistic works like murals depicting capital sins exist within Curahuara de Carangas' temple, showcasing rich cultural heritage dating back to the late 18th century.

• References are made to notable figures such as Enrique Cuantas Ormaché and Julia Elena Fortuna who have contributed significantly to documenting dance history up until 1789.

Cultural Influences in Bolivian Music and Dance

Historical Context of Musical Rhythms

• The musical rhythms discussed have roots believed to originate from France, but the more familiar music has Spanish influences. Marches used in 1789 were primarily Spanish, associated with processions for the Virgin of Socabón.

Evolution of Dance and Independence

• The speaker emphasizes that traditional dance steps remain consistent over time, linking contemporary dances to those performed 50 or even 100 years ago.

• During the independence movement, there was a concerted effort to erase all things Spanish; however, many cultural elements persisted despite this push.

Significance of Religious Processions

• The transfer of the Candelaria celebration closer to Carnival allowed miners a longer holiday period. This adaptation reflects historical practices in Bolivia regarding holiday scheduling.

• Oruro's Carnival is highlighted as unique due to its religious significance, merging joy from Carnival with devotion during processions towards the Virgin of Socabón.

Development of Diablada Dance

• The Diablada dance emerged from religious processions influenced by both carnival festivities and devout practices specific to Oruro.

• Historical references indicate that these marches were integral to theatrical representations dating back to 1559, showcasing their longstanding cultural importance.

Cultural Syncretism and Identity

• The blending of Spanish and indigenous elements led to a unique mestizo identity in Bolivian culture. This transformation is evident in how traditional music evolved into dance forms like Diablada.

• Acknowledgment that what may sound foreign or unrecognizable today stems from a rich history where local cultures reshaped original influences into something distinctly Bolivian.

Recognition and Legacy

• The Real Academia Española recognizes Diablada as a typical dance from Oruro, affirming its cultural significance within Bolivia.

• Felipe Montealegre played a crucial role in preserving and institutionalizing the Diablada dance throughout the 19th century amidst challenges faced by miners during economic downturns.

This structured summary captures key insights about Bolivian music and dance's historical evolution while providing timestamps for easy reference.

Constitutional History and Cultural Identity

The Formation of Bolivia's Constitution

• The speaker discusses the historical context of Bolivia's constitution, emphasizing that it was signed by Bolivians alongside representatives from Argentina, Paraguay, and Uruguay. This highlights a collective effort to unify as provinces despite being distinct nations.

• The mention of the 1813 Constituent Assembly raises questions about Bolivia's independence narrative, noting that a constitution was created 12 years before formal independence in 1825.

• The speaker reflects on the tumultuous period between 1810 and 1825, where Bolivia faced numerous conflicts leading to significant population loss. This period is described as critical yet often overlooked in national history.

• There is a contrast drawn between how different countries celebrate their independence; Bolivia commemorates the signing of its act rather than the initial rebellion against colonial rule.

Musical Heritage and Cultural Influences

• Introduction of Professor Javier Salas Ávila who discusses the origins of certain musical rhythms attributed to Bolivian culture, suggesting they have European influences but are rooted in Bolivian traditions.

• A specific rhythm associated with Bolivian music is mentioned, indicating its unique development within local neighborhoods rather than solely European origins.

• The discussion includes references to a composition titled "Rosas Rojas," which illustrates how Bolivian music has been adapted and recognized outside its original context since its emergence in Puno around 2006.

Historical Context of Music Composition

• Historical figures like President Valiviano are noted for bringing European musical styles to Bolivia, blending them with local traditions to create new forms such as marches influenced by Napoleonic themes.

• The evolution of these musical styles is highlighted through comparisons with original compositions from France, showcasing how they have transformed over time into distinctly Bolivian expressions.

Dance Traditions and Their Evolution

• Discussion on traditional dances like La Diablada reveals their complex heritage involving French and Spanish influences along with indigenous elements from various cultures converging in Oruro, Bolivia.

• References are made to historical documents from Oruro dating back to 1862 that detail performances and cultural practices surrounding La Diablada dance, illustrating its longstanding significance in Bolivian culture.

Documentation and Historical Findings

• An exploration into archival materials shows how early newspapers documented cultural events related to La Diablada. These records provide insight into the characterizations of dancers during festivities.

• Specific mentions are made regarding characters within dances such as "los diablos del socabón," emphasizing their importance in representing cultural narratives through performance art.

The Evolution of Diablada: Historical Insights

Origins and Institutionalization

• The Diablada dance has roots before 1904, with significant traditional elements dating back to 1810-1910, researched by Vargas Lusa.

• Vargas Lusa, a key figure in this research, continues to participate in the fraternity and has authored a book titled "Diablos y diabladas."

Unique Characteristics of Masks

• Each mask used in the Diablada is unique, reflecting individual personalities; no two masks are identical.

• The masks are not mass-produced but rather handcrafted, showcasing a diverse range of designs including dragons and lizards.

Historical Context and Cultural Significance

• The Chunchos and other groups performed during celebrations in Talapacá on August 6th when it was part of Peru.

• Chilean newspapers from 1898 document Bolivian dances during the chilenization of Tarapacá, highlighting cultural exchanges post-war.

Institutional Development Post-War

• The Gran Tradicional Auténtica de Oruro was institutionalized in 1904, marking a shift from informal gatherings to organized representation.

• Carlos Delgado plans to publish findings about the Diablada's history in La Patria newspaper for broader awareness.

Early Documentation and Performances

• In 1912, Valdes Kanji documented his experiences at the Oruro carnival where he witnessed performances funded by local authorities.

• This evidence suggests that musical bands were present much earlier than previously thought (before 1930), indicating deeper historical roots for these traditions.

Expansion Beyond Bolivia

• Pedro Corrales' visit to Puno in 1918 marked the first presentation of Diablada outside Bolivia; this event is noted as pivotal for cultural exchange.

• Research indicates that prior to this visit, there were no recorded performances of Diablada in Puno.

Collaboration on Cultural Research

Overview of the Project

• The speaker discusses a collaborative project with German folklorist Max Mayer, who published a comprehensive book in 2002 about the Candelaria festival.

• The project involves translating Mayer's work from German to make it accessible to a wider audience.

Insights on Diablada

• The speaker mentions the modernization of the Candelaria festival and its cultural significance, particularly focusing on the role of local groups from Puno.

• A historical reference is made to an article by Víctor Villarco from 1918 discussing the Diablada, highlighting its importance in Peruvian culture.

Historical Context and Institutions

• The speaker emphasizes the need for foreign research evidence to support local cultural claims, referencing ongoing efforts to gather such data.

• Various institutions related to the Diablada are mentioned, including their founding years and contributions to preserving this cultural heritage.

Genealogy of Diabladas

• A genealogical tree of different Diabladas is discussed, illustrating how they have evolved over time and their connections back to original forms.

• The speaker explains that many modern interpretations stem from traditional roots, emphasizing continuity in cultural identity.

Cultural Ownership and Identity

• It is asserted that all variations of Diabladas share common ancestry with Oruro's traditions, reinforcing Bolivia's ownership over this dance form.

• The discussion concludes with a statement about the unique characteristics of Bolivian Diabladas compared to those in Puno or other regions.

Cultural Recognition and Historical Context of Bolivian Dances

Award for Cultural Contributions

• In 2025, an individual was awarded a medal by the people of Bolivia for her book that acknowledges the cultural significance of Bolivian dances, particularly highlighting the Diablada.

• The award recognizes her contribution to understanding traditional dances like caporales and morenada, emphasizing their Bolivian roots.

Research Contributions

• Researchers Enrique Cuentas Ormachia and Javier Sales have documented important historical data regarding Bolivian culture, including names of key figures involved in the bolivianization process.

• Evidence suggests that the Diablada dance from Bolivia influenced Peruvian culture starting in the 1960s, with significant changes occurring after initial interactions in 1818.

Evolution of Dance Names and Styles

• Enrique Cuentas refers to a variant of Diablada as "Diablada Puneña," indicating a shift in naming to assert its historical legitimacy.

• The evolution from 1922 to 1965 saw differences between Puneña and Bolivian styles due to logistical challenges faced by early performers.

Historical Documentation

• José María Arguedas' work documents how characters known as "diablos" were originally seen as helpers rather than mere entertainers, reflecting deeper cultural roles within society.

• Arguedas is recognized for his substantial contributions to understanding these cultural dynamics; his image appears on Peruvian currency.

Creation of Folkloric Embassies

• Enrique Cuentas Ormachia played a pivotal role in establishing what he termed "Diablado," creating a folkloric ballet that showcased Puneña dance styles distinct from those traditionally associated with Bolivia.

• His efforts led to formal presentations in Lima, where he highlighted differences between Puneña dancers who wore animal disguises compared to other regional performances.

Artistic Representation and Misappropriation

• The masks used by Puneños were crafted based on Tibetan designs but were not representative of traditional Moruro masks; this reflects a blend of influences over time.

• A video titled "From Plagiarism to Failure" critiques how some elements have been copied without proper acknowledgment or understanding of their origins.

Importance of Historical Publications

• References are made to older publications such as Mundo Hispano which document aspects of Bolivian culture dating back to 1956, underscoring ongoing recognition issues within artistic communities.

• An important image from Mundo Hispano illustrates various vices represented through dance, linking them back to cultural practices surrounding the Diablada.

From Plagiarism to Failure: The Case of Diablada Puneña

Historical Context and Claims

• The speaker emphasizes the historical significance of their cultural heritage, asserting pride in their traditions while acknowledging that other cultures also have merits.

• A critique is made regarding the lack of representation from Puno at a congress, specifically mentioning the "Diablada Puneña" and its origins.

• The creation of the dance known as "hablada tuneña" is attributed to Enrique Cuentas Maché, highlighting his role in developing this form.

Controversies Surrounding Dance Creation

• There is skepticism about whether one person can create a dance; however, evidence is presented supporting Cuentas' claim as the creator.

• The speaker describes how elements from various regions were combined inappropriately for this dance, including costumes and music not originally from Puno.

Performance History and Reception

• The first performance of "hablada con ella" occurred on August 4, 1962, in Lima; it was noted that there was no institutional support for this dance at that time.

• Despite attempts to promote the dance over decades, it has been labeled a failure due to lack of popularity or recognition within Peru.

Cultural Impact and Legacy

• Comparisons are drawn between successful dances like "caporal," which gained widespread acceptance versus the failed reception of "Diablada Puneña."

• Documentation exists proving that Cuentas had to borrow heavily from Bolivian culture for his dance's elements but ultimately did not achieve lasting success.

Recognition as Cultural Heritage

• In 2021, Peru declared "Diablada Puneña" as part of its cultural heritage despite its perceived failures; this raises questions about national identity and cultural preservation.

• The speaker argues that declaring a failed cultural expression as heritage is unique to Peru and highlights issues surrounding authenticity in cultural representations.

Music Plagiarism Issues

• Concerns are raised about musical plagiarism by Peruvian groups who have adopted music associated with traditional dances without proper acknowledgment or respect for their origins.

• Recent performances continue to showcase these borrowed elements under different names while neglecting the original context.

Cultural Identity and the Influence of Bolivian Music

The Defense of Bolivian Culture

• The speaker discusses how Bolivian music is often appropriated by Peruvians, who sometimes alter lyrics to fit their narratives, leading to confusion about cultural ownership.

• Emphasizes that showcasing Bolivian culture is a way to assert identity, regardless of how it may make others feel; the focus is on pride in one's heritage.

• Critiques attempts by Peruvians to create a dance called "Diablada," which lacks authenticity and rhythm compared to traditional Bolivian performances.

Historical Context of Cultural Appropriation

• Mentions that the influence of Bolivian music began in the 1960s, with significant milestones like the arrival of Sicuri Moreno in Puno (1892) and Diablada in 1918.

• Points out that contemporary Peruvian celebrations often feature Bolivian music but lack genuine representation or understanding of its roots.

The Concept of "Bolivianization"

• Introduces the term "bolivianization" as a process where elements of Bolivian culture are absorbed into Peruvian practices without proper acknowledgment.

• Argues that many dances performed today are misrepresentations, as they borrow from authentic Bolivian traditions while failing to capture their essence.

Legal and Cultural Recognition

• Highlights the importance of legally defending musical rights and recognizing authorship within cultural expressions.

• Concludes with gratitude for audience engagement and emphasizes ongoing efforts to promote cultural awareness and respect for origins.

Acknowledgment and Community Engagement

• The speaker expresses appreciation for community support during cultural events leading up to national celebrations, reinforcing local pride.

• Stresses the significance of respecting authorship in cultural expressions while encouraging others to embrace and celebrate these traditions authentically.

Cultural Contributions and Family Heritage

Importance of Cultural Research

• The speaker emphasizes the significance of cultural and historical research in Oruro, highlighting how recent investigations have helped connect various aspects of history, dance, and language.

• Acknowledgment is given to Francisco for his contributions, which have aided in reconstructing genealogical data essential for understanding family histories.

Gifts and Recognition

• The institution plans to present a gift to Francisco's family as a token of appreciation, including a cultural magazine produced by the organization.

• The speaker expresses gratitude towards the fraternity for their unity and support, emphasizing the importance of maintaining strong bonds within the community.

Personal Reflections on Heritage

• Patricia shares her heartfelt thanks regarding the discovery about her great-grandfather's Bolivian roots, expressing deep appreciation for efforts made towards preserving culture.

• An invitation is extended to attendees for questions or comments before concluding the session, reinforcing engagement with the audience.

Conclusion and Future Engagement

• The session wraps up with thanks to participants and an announcement about upcoming live events focused on Oruro's carnival celebrations.

• The speaker encourages continued support from viewers while looking forward to sharing more insights into Bolivia’s folklore and cultural heritage.