History of the Diablada

The Diablada or Danza de Diablos (English: Dance of Devils) is a dance created characterized by the mask and devil suit worn by the dancers.

The origin of the Diablada is a matter of dispute between the countries of Bolivia and Peru. Three main locations exist for the possible origin of the dance. These places are:

The name was consolidated in a historical process of acceptance of the "Dance of devils" Native-Miners to the whole society of Oruro, this process covers the period from 1789 to 1944 where groups of "parades of devils" be called "Diablada." Finally in 1904 created the primeval "Diablada" with the label "The Great Traditional Authentic Diablada Oruro", with music, dress, choreography and plot defined. This period culminated with the founding of new groups of Diabladas in 1944, consolidating the denomination. Currently this definition is in the dictionary of the Spanish Royal Academy of Language.

Its earliest record found in pre-Hispanic times, the dance of "Llama llama" dance subsequent ironically devoted Aymara language of the Urus dance dressed as devils, as recorded by Ludovico Bertonio.

With the arrival of the Spanish in this region in 1535 and the Augustinians in 1559 with the Virgin of Candelaria, it begins to produce an acculturation of religions and cultures.

Ethnohistorical development process of disguise and the dance of Diablada fall into three periods, according to the document sent of Carnaval de Oruro to Organization of the United Nations Educational, Scientific and Cultural Organization (Unesco).

The debate about the patrimonial identity of the Diablada concerns its roots as well. 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. 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.

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