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| Oruro Carnaval History "Masterpiece of the Oral Patrimony and Intangible Heritage of Humanity" |
The Beginning
The beginnings of the Oruro Carnaval was at the end of the forties decade. At the
beginning of the fifties, several people with a great anxiety, among them journalists and
writers, were in charge of observing and to investigate the Oruro Carnaval and the role
they performed at that time the existing folkloric groups were the same that were quite
scarce in numbers.
In those times several difficulties existed for the folkloric groups to freely participate at the
Carnival without restrictions. Since then by decision of the municipal government of back
then. The groups could not enter the Main plaza "10 de Ferbrero" and less intend to carry
out festivals or other activities in the main social clubs. Since then these groups were
judged as popular demonstrations. The authorities of those times made a serious error,
therefore the Mayors and conservative Prefects, they did not want to observe objectively the
immense and important content of these demonstrations, the same that they constitute
the true essence of the regional soul motive pride of our country today.
The year of 1952, a mayor decided to take low guardianship of the city Hall as the
organization of the the Oruro Carnaval. Promulgating an ordinance, the same one that
was successful. Since then it encouraged the participation as observers of a great
number of tourists and curious, that were arriving year after year to the city of Oruro.
As we saw, the Oruro Carnaval, at first was organized by the representatives of the
different folkloric groups.
Subsequently the organization of this festival, passed to the guardianship of the municipal
The beginnings of the Oruro Carnaval was at the end of the forties decade. At the
beginning of the fifties, several people with a great anxiety, among them journalists and
writers, were in charge of observing and to investigate the Oruro Carnaval and the role
they performed at that time the existing folkloric groups were the same that were quite
scarce in numbers.
In those times several difficulties existed for the folkloric groups to freely participate at the
Carnival without restrictions. Since then by decision of the municipal government of back
then. The groups could not enter the Main plaza "10 de Ferbrero" and less intend to carry
out festivals or other activities in the main social clubs. Since then these groups were
judged as popular demonstrations. The authorities of those times made a serious error,
therefore the Mayors and conservative Prefects, they did not want to observe objectively the
immense and important content of these demonstrations, the same that they constitute
the true essence of the regional soul motive pride of our country today.
The year of 1952, a mayor decided to take low guardianship of the city Hall as the
organization of the the Oruro Carnaval. Promulgating an ordinance, the same one that
was successful. Since then it encouraged the participation as observers of a great
number of tourists and curious, that were arriving year after year to the city of Oruro.
As we saw, the Oruro Carnaval, at first was organized by the representatives of the
different folkloric groups.
Subsequently the organization of this festival, passed to the guardianship of the municipal
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| Virgen of Socavon Oruro - Bolivia |
governments. In both cases they did not count on a good organization that
would promote the cultural values of this festivity. In date January 19, 1963,
the presidents and representatives of all the folkloric that participated at the
Oruro Carnaval. These had set the main objectives, the goals, creating a
work plan and organized the (ACFO) Asociacion de Conjuntos del Folklore
de Oruro.
The first board of directors of the ACFO, was presided by Mr. Antonio
Avendaño Chávez, who was also a directive member of the "Diablada
Artistica Urus". The Oruro Carnaval was always majestic, full of color, a
living cultural expression, symbiosis of the religious, the traditional or
indigenous.
Was always spectacular; but was not an attraction of multitudes there was
would promote the cultural values of this festivity. In date January 19, 1963,
the presidents and representatives of all the folkloric that participated at the
Oruro Carnaval. These had set the main objectives, the goals, creating a
work plan and organized the (ACFO) Asociacion de Conjuntos del Folklore
de Oruro.
The first board of directors of the ACFO, was presided by Mr. Antonio
Avendaño Chávez, who was also a directive member of the "Diablada
Artistica Urus". The Oruro Carnaval was always majestic, full of color, a
living cultural expression, symbiosis of the religious, the traditional or
indigenous.
Was always spectacular; but was not an attraction of multitudes there was
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considered one more local festival of character. This was due to its religious demonstration toward the Virgin of the Socavón.
The carnaval was then an expression of dances, rites and traditions that had been established in all the inhabitants of the city. The
visitors that anticipated the entries of the carnaval where many the fraternities that participated at this entry were few.
In the forties the participating folkloric assemblies in this festival represented the diverse provinces of the departments (States) the
urban considered groups, took a special place. Even in privilege at the Entry of the Carnaval.
It attraction of the Oruro Carnaval is the traditional dance of "La Diablada" that is native of Bolivia. That by then did not include so many
fraternities that carried out this dance. The "true Diablada", was composed by people of that is to say mining, lower-middle class and
butchers. These did a great spectacle at the carnaval.
The carnaval was then an expression of dances, rites and traditions that had been established in all the inhabitants of the city. The
visitors that anticipated the entries of the carnaval where many the fraternities that participated at this entry were few.
In the forties the participating folkloric assemblies in this festival represented the diverse provinces of the departments (States) the
urban considered groups, took a special place. Even in privilege at the Entry of the Carnaval.
It attraction of the Oruro Carnaval is the traditional dance of "La Diablada" that is native of Bolivia. That by then did not include so many
fraternities that carried out this dance. The "true Diablada", was composed by people of that is to say mining, lower-middle class and
butchers. These did a great spectacle at the carnaval.
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Next to the participating groups in this festival, in a caravan of animals,
mules, bulls, donkeys and llamas carried silverware on their way to "El
Socavón". Symbol of the mineral wealth that came from the colonial
period, when the wealth of the gold-smithing showed off itself, which
remained far from the popular reality.
Therefore was the mining gene of high rank (owners, managers,
foremen and others) the one that did their entries in steeds whose
flanges and mounts were silver.
The miners and mañazos were recognized by the public, as the most
skillful in the execution of the dances, although the choreography of then
was not refined. They impressed the public by the leaps and steps that
seemed to shorten the road to el Socavón.
In the Socavón the dancers removed their masks and entered on their
knees to the venerated image, where they asked pardon pursuit the .
mules, bulls, donkeys and llamas carried silverware on their way to "El
Socavón". Symbol of the mineral wealth that came from the colonial
period, when the wealth of the gold-smithing showed off itself, which
remained far from the popular reality.
Therefore was the mining gene of high rank (owners, managers,
foremen and others) the one that did their entries in steeds whose
flanges and mounts were silver.
The miners and mañazos were recognized by the public, as the most
skillful in the execution of the dances, although the choreography of then
was not refined. They impressed the public by the leaps and steps that
seemed to shorten the road to el Socavón.
In the Socavón the dancers removed their masks and entered on their
knees to the venerated image, where they asked pardon pursuit the .
committed sins. Sunday was destined to the "stories", with which gave to know the essence of the folkloric tradition while the dances,
alreadyremote, continued along the streets of the city.
Monday all returned to the calm, when already in the mines proceeded to the eve of the "challa" and the repartija of "tinka" to the
workers of the subsoil. An enormous handkerchief wrapped streamers, mixture, sweeten and something of money according to the
rank of the worker.Then, with that backup, the miners continued the festival till Sunday of temptation, that among religious rites, pagan
representations, sacrifices of "sullus" and penitences to the Calvary. They overflowed enthusiasm in a so special day in the south
zone of the city, on a valley in the heights called Agua de Castilla. Once the festival finalized, all would return to tranquility and carry
out the re-encounter of the traditional festival and the hope of a better year in the production of minerals. Already all remained under
the divine look of the Virgin of the Socavón, fact image of the socavones.
alreadyremote, continued along the streets of the city.
Monday all returned to the calm, when already in the mines proceeded to the eve of the "challa" and the repartija of "tinka" to the
workers of the subsoil. An enormous handkerchief wrapped streamers, mixture, sweeten and something of money according to the
rank of the worker.Then, with that backup, the miners continued the festival till Sunday of temptation, that among religious rites, pagan
representations, sacrifices of "sullus" and penitences to the Calvary. They overflowed enthusiasm in a so special day in the south
zone of the city, on a valley in the heights called Agua de Castilla. Once the festival finalized, all would return to tranquility and carry
out the re-encounter of the traditional festival and the hope of a better year in the production of minerals. Already all remained under
the divine look of the Virgin of the Socavón, fact image of the socavones.
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Current Carnival
First Convite
The first convite coincides with the first rehearsal and
organization of the folkloric groups and the first Sunday of
November is carried out after the festivity of "All the Saints". After
the rehearsal the dancers are directed to the Sanctuary of El
Socavón and in the presence of the parson. In front of the altar
of the Virgin they promise solemnly to dance for three consecutive
years in her honor. Some times some grace obtained or
imploring a special favor. A musical background of felt themes
(yaravíes or boleros of cavalry) motivating the absorption and
meditation inside a framework of solemnity. The blessing that is
given in individual form by the priest that receives the promise,
places the ending point to this ceremony.
Veils
First Convite
The first convite coincides with the first rehearsal and
organization of the folkloric groups and the first Sunday of
November is carried out after the festivity of "All the Saints". After
the rehearsal the dancers are directed to the Sanctuary of El
Socavón and in the presence of the parson. In front of the altar
of the Virgin they promise solemnly to dance for three consecutive
years in her honor. Some times some grace obtained or
imploring a special favor. A musical background of felt themes
(yaravíes or boleros of cavalry) motivating the absorption and
meditation inside a framework of solemnity. The blessing that is
given in individual form by the priest that receives the promise,
places the ending point to this ceremony.
Veils
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From the first convite to the arrival of the Carnaval. The Saturdays of each week "Veils"
are carried out. Which consists of acts prepared with devotion offering prayers to the
Virgin of the Socavón imploring their blessing alternated with a very original
indigenous custom that is the "Pijchada" (chew coca leaf) or manifestation of coca
(sacred indigenous leaf), besides smoking cigarettes and drink “ponches”.
By the economic crisis in the groups, the groups take advantage of the “veils” to collect
funds offering a spectacle with choreographic musical numbers, etc.; and raffles of
objects donated by the associates, all this with very good result, since the funds thus
collected enter to the common box to settle some expenses.
are carried out. Which consists of acts prepared with devotion offering prayers to the
Virgin of the Socavón imploring their blessing alternated with a very original
indigenous custom that is the "Pijchada" (chew coca leaf) or manifestation of coca
(sacred indigenous leaf), besides smoking cigarettes and drink “ponches”.
By the economic crisis in the groups, the groups take advantage of the “veils” to collect
funds offering a spectacle with choreographic musical numbers, etc.; and raffles of
objects donated by the associates, all this with very good result, since the funds thus
collected enter to the common box to settle some expenses.
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Second and Last Convite
Testimony and affirmation of the promise made in the first convite and a
week before the carnaval being characterized for the adequate preparation
of the groups is performed.
For some years, the last convite already is performed in an ordered form
continuing a role and route established, constituting a worthy entry of the
fabulous Entry on Saturday of Carnaval, the dancers showing attractive
costumes of rehearsal and exhibiting an attractive choreography.
After months of rehearsals, traveling through routes and participating in the
first convite, the different fraternities prepare to participate in the last convite
that is carried out every year a Sunday before the entry of the Carnival.
This convite is carried out dancing through the different avenues by where
the ostentatious entry of the Oruro Carnaval on saturday of carnaval.
The traveled route culminates with the arrival of all the dancers on their
knees at the altar of the Virgin of the Socavón to reaffirm in this manner the
faith and devotion professed. It is on this place where the new dancers that
have not yet carried out their promise in the first convite, they carry it out,
promising to dedicate their dance for three years to the Virgencita.
It is at this sublime time in which the reunion with faith is produced, where
all and each one of the believing dancers find the meaning, the object and
end of the dance.
Testimony and affirmation of the promise made in the first convite and a
week before the carnaval being characterized for the adequate preparation
of the groups is performed.
For some years, the last convite already is performed in an ordered form
continuing a role and route established, constituting a worthy entry of the
fabulous Entry on Saturday of Carnaval, the dancers showing attractive
costumes of rehearsal and exhibiting an attractive choreography.
After months of rehearsals, traveling through routes and participating in the
first convite, the different fraternities prepare to participate in the last convite
that is carried out every year a Sunday before the entry of the Carnival.
This convite is carried out dancing through the different avenues by where
the ostentatious entry of the Oruro Carnaval on saturday of carnaval.
The traveled route culminates with the arrival of all the dancers on their
knees at the altar of the Virgin of the Socavón to reaffirm in this manner the
faith and devotion professed. It is on this place where the new dancers that
have not yet carried out their promise in the first convite, they carry it out,
promising to dedicate their dance for three years to the Virgencita.
It is at this sublime time in which the reunion with faith is produced, where
all and each one of the believing dancers find the meaning, the object and
end of the dance.
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The Carnaval
Oruro awaits with anxiety the moment to initiate the carnaval with the always
crowded presence of the public that assists this cultural festival.
The spectators of the carnaval are people of our country, as well as visitors
of neighboring countries that arrive to Oruro. Also visitors of other continents
arrive like, Asia and Europe, United States to witness the major folkloric
carnaval of Latin America and the World.
It is frequent to see in this festival, an enormous quantity of photographers
and communicators, with the eagerness to cover this great international
event to diffuse its content of dance and tradition.
As time passed, the Oruro Carnaval acquires greater prestige, therefore the
organization of the same one. Their diffusion and the cultural content they
gave and they give it immense fame in all the corners of our country as well
as abroad
Oruro awaits with anxiety the moment to initiate the carnaval with the always
crowded presence of the public that assists this cultural festival.
The spectators of the carnaval are people of our country, as well as visitors
of neighboring countries that arrive to Oruro. Also visitors of other continents
arrive like, Asia and Europe, United States to witness the major folkloric
carnaval of Latin America and the World.
It is frequent to see in this festival, an enormous quantity of photographers
and communicators, with the eagerness to cover this great international
event to diffuse its content of dance and tradition.
As time passed, the Oruro Carnaval acquires greater prestige, therefore the
organization of the same one. Their diffusion and the cultural content they
gave and they give it immense fame in all the corners of our country as well
as abroad
|
Friday
The day Friday at night before the carnaval, the majority of the fraternities that participate in this festival, carry out the last “veil” in
honor of the Virgin of el Socavón who also is carried out in the main streets and avenues of Oruro, the traditional evening festival.
Saturday
The entry on Saturday of carnaval is the pilgrimage that the assemblies and folkloric fraternities do toward the feet of the Virgencita
of el Socavón. In expression of faith and racially mixed religiousness. On this day, the dancers by the faith they practice, they
should not consume alcoholic beverages, therefore they dedicate entirely their dance to the Virgencita showing at the same time
the love to the dance and traditions of our beloved country Bolivia.
Sunday
Sunday of carnaval a second entry is carried out, performing the same route traveled through of the previous day, this second entry
is already the festival of the carnaval, where all the groups dance for amusement, showing happiness and enthusiasm. So much
the day Saturday as the day Sunday at night. The participating groups generally organize their parties, where they give free rein to
the healthy amusement.
Monday and Tuesday
The day Monday at the main plaza a demonstration is carried out. The spectacular traditional dance of "La Diablada" shows the
fight of good and evil with the representation of the 7 Capital Sins. In a show without precedence, during the afternoon the
cacharpaya is carried out, culminating the festival with the challa, the day Tuesday of Carnival.
The day Friday at night before the carnaval, the majority of the fraternities that participate in this festival, carry out the last “veil” in
honor of the Virgin of el Socavón who also is carried out in the main streets and avenues of Oruro, the traditional evening festival.
Saturday
The entry on Saturday of carnaval is the pilgrimage that the assemblies and folkloric fraternities do toward the feet of the Virgencita
of el Socavón. In expression of faith and racially mixed religiousness. On this day, the dancers by the faith they practice, they
should not consume alcoholic beverages, therefore they dedicate entirely their dance to the Virgencita showing at the same time
the love to the dance and traditions of our beloved country Bolivia.
Sunday
Sunday of carnaval a second entry is carried out, performing the same route traveled through of the previous day, this second entry
is already the festival of the carnaval, where all the groups dance for amusement, showing happiness and enthusiasm. So much
the day Saturday as the day Sunday at night. The participating groups generally organize their parties, where they give free rein to
the healthy amusement.
Monday and Tuesday
The day Monday at the main plaza a demonstration is carried out. The spectacular traditional dance of "La Diablada" shows the
fight of good and evil with the representation of the 7 Capital Sins. In a show without precedence, during the afternoon the
cacharpaya is carried out, culminating the festival with the challa, the day Tuesday of Carnival.
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MASTERPIECE OF THE ORAL AND INTANGIBLE PATRIMONY OF
HUMANITY
By the great folkloric, cultural wealth and originality of dances and
dances that the Oruro Carnaval and Bolivia possess. Is that the
National Direction of cultural promotion of our country achieves
that the UNESCO recognizes that the dances presented at the
Oruro Carnaval and other festivals of the country, have both roots
and Bolivian origin naming the majestic Oruro Carnaval
"MASTERPIECE OF THE ORAL AND INTANGIBLE PATRIMONY OF
HUMANITY". In this way the traditions of cultural and social content
are recognized. Therefore the Oruro Carnaval for its essence,
wealth and meaning, is a treasure of the continent and the world.
WE MUST SAVE THAT WHICH IS OURS KNOWING IT
HUMANITY
By the great folkloric, cultural wealth and originality of dances and
dances that the Oruro Carnaval and Bolivia possess. Is that the
National Direction of cultural promotion of our country achieves
that the UNESCO recognizes that the dances presented at the
Oruro Carnaval and other festivals of the country, have both roots
and Bolivian origin naming the majestic Oruro Carnaval
"MASTERPIECE OF THE ORAL AND INTANGIBLE PATRIMONY OF
HUMANITY". In this way the traditions of cultural and social content
are recognized. Therefore the Oruro Carnaval for its essence,
wealth and meaning, is a treasure of the continent and the world.
WE MUST SAVE THAT WHICH IS OURS KNOWING IT
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For some time now, most of the folkloric and cultural
demonstrations of our country, particularly those that are
presented through the dance at the Oruro Carnaval and other
similar festivities, have suffered a serious distortion in various
aspects of their essence This is due to the ignorance and
lack of respect that possess many components of these
Folkloric Assemblies that execute the typical dances.
As an example: Before taking a specific employment, a
person should be informed about it, if its apt to perform that
function, to ascertain the schedules, the pay, etc.; As in this
example the same thing happens or should happen when a
person passes to integrate a group of folkloric dances.
demonstrations of our country, particularly those that are
presented through the dance at the Oruro Carnaval and other
similar festivities, have suffered a serious distortion in various
aspects of their essence This is due to the ignorance and
lack of respect that possess many components of these
Folkloric Assemblies that execute the typical dances.
As an example: Before taking a specific employment, a
person should be informed about it, if its apt to perform that
function, to ascertain the schedules, the pay, etc.; As in this
example the same thing happens or should happen when a
person passes to integrate a group of folkloric dances.
They should be affirmed of what he/she is dancing, to seek the roots of the dance, the origin and meaning, its history, etc. Of not
doing thus, the person falls in the ignorance, not knowing the dance, in its interpretation, in its clothing, choreography and music,
without knowing the cause of these.
This motivates that we identify ourselves with our folklore and we have full knowledge of what we possess assuming front that
which is ours defense all spoils, the copying and the kidnapping of who now intend to be attributed as owners of these clearly
traditional expressions of our country.
doing thus, the person falls in the ignorance, not knowing the dance, in its interpretation, in its clothing, choreography and music,
without knowing the cause of these.
This motivates that we identify ourselves with our folklore and we have full knowledge of what we possess assuming front that
which is ours defense all spoils, the copying and the kidnapping of who now intend to be attributed as owners of these clearly
traditional expressions of our country.
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