Bolivia – Highlights of the
Carnival Written by Colette Green
Photographed by Colette Green and Ivan Anakin Espinosa
The term 'choca', or as it is in its diminutive form, 'chocita'
is a word I became familiar with, and almost fond of during the
8 months I spent in Cochabamba, Bolivia, of 2006-2007. It originates
from the native language of Quechua and is used to refer to anyone
with white skin and vaguely blond hair. Chocita was shouted at
me in the street many a time by groups of hormone driven boys
hanging around in corners. However, I never heard it more frequently
than in the month leading up to the carnival which takes place
at the end of February.
During this period it is traditional for people, normally groups
of juveniles, to soak each other and passers-by in the street,
using water bombs, bazukas and other such devices. I should add
that this is done with no consideration as to the weather conditions
or the time of day. Yet even this did not prepare me for the big
finale of the carnival itself. My experience of this lively festival
took place in the rather gloomy city of Oruro, which despite its
ugly appearance and unwelcoming climate is a perfect setting for
such an event thanks to its wide streets and enthusiastic residents.
Perhaps the downside to hosting it here is the low climatic temperatures
one has to endure, especially at night, due to the city's position
at such a high altitude, making the prospect of being soaked not
such a welcome one. Nevertheless, this does not stop masses of
people lobbing water bombs at crowds in the opposite theatre stands,
resulting in an inevitable, mass-scaled water fight from one side
of the street to the other.
The parade itself, being the highlight of the carnival, is spectacular
and well worth the discomfort of being wet, cold and covered in
foam. Groups of dancers, male and female, flock through the street
in unison and in time to the music played by the bands also involved
in the parade. This is a beautiful sight, made even more magnificent
by the range of bright and colourful costumes modelled by those
performing. The dresses worn depend on the type of dance, three
of which particularly made an impression on me and therefore stuck
in my mind.
The dance of the Tinkus
The first of these is called the dance of the 'tinkus', meaning
encounter or meeting in Quechua. As the name suggests this dance
comes from a form of ritual conflict which was originally used
by the indigenous people of the north of Potosi, Bolivia. One
of the steps even imitates the posture of a soldier in combat
ready to fight their opponent. The traditional costumes worn when
performing this dance in such a parade are cheerful and colourful.
The helmets worn by the male dancers are covered with painted
feathers. The female hat contains ornamental feathers along with
colourful ribbons hanging down the front and compliments their
long skirt, which is made to fit with a wide belt. The footware
worn by both the men and women is simple and comes in the form
of ‘abarcas’ (walking sandals). Such footwear is ideal
since technically ‘tinkus’ could claim to be one of
the most challenging dances and it certainly requires a lot of
energy, especially when one is performing all day.
Photo by Ivan Anakin Espinosa
La Diablada
Another dance with an interesting history behind it is 'La Diablada'.
The word 'Diablo' means Devil in Spanish, and being a rebellion
dance, marked by the elaborate masks and dresses, La Diablada
lives up to its name both in spirit and costume. The dance could
be described as a celebration of both good and evil based on Christian
belief. It is lead by two main dancers, one representing Lucifer
and the other Archangel Michael both of whom are followed by hoards
of devil dancers, prancing behind in flamboyant, multicoloured
costumes, accompanied by brass bands. Their masks clearly depict
the face of a devil with horns, bulging eyes, fangs and long hair,
whilst the actual dress consists of sparkling breast plates, silk
embroidered shawls and golden spurs.
Included amongst these devil dancers are smaller groups of seductive
she-devils known as China Supay, sporting masks with long eyelashes
and red mouths and wearing alluring short skirts with revolvers
tucked into their belts. The modern interpretation of the dance
appears to be a morality play in which the Archangel Michael wins
victory over Lucifer. However, in contrast the dance is also seen
as tribute to the devil as an ‘incarnation of Huari, the
pre-Columbian god of the underworld, who is the owner of the mineral
wealth of the mines and the jealous patron of the miners who dance
in his honour’.
Caporales folkloric dance
The third typical Bolivian folkloric dance is ‘Caporales’,
which owing to its physically demanding nature, more so for men
than women, is predominantly performed by young people between
20-30 years of age. The style of dance is similar to a march and
originates from the era of colonisation where ‘caporales’
were Spaniards born in the colonies. The dance was inspired by
performances from Afro-Bolivians living in Las Yungas, Bolivia,
and initiated as a legacy following the end of Spanish colonisation
in Bolivia and its policy of slavery. It is also tied to religion
with the idea that one is dancing as a tribute to the Virgin of
Socavon (patroness of miners) and promises to dance for 3 years
of one’s life. The costumes are elaborate and very distinct
from those worn in the other 2 dances. The outfit of the male
caporal is that of a Spanish military guard and includes heeled
boots adorned with bells known as ‘cascabeles’. These
bells supposedly make the sound of the chains tied to the feet
of slaves and today are linked to the sound of freedom. The costume
also includes a hat which is held in the dancer’s left hand
and a whip in his right. The outfit of the women, who play the
wives of the caporales, includes a short dress, high heeled decorative
shoes and a round top hat fixed to her hair with pins. This outfit
is perfect for such a dance because although the male and female
dance separately, the females’ movements are predominantly
flirtatious.
These dances
and many more make the parade a spectacular event to watch and
become even more fun and light hearted through the performances
of children as well as adults. The parade can also be very engaging
if one is prepared to jump the barrier in order to see the dancers
and their costumes up close, at the risk of being a prime target
for those throwing water or spraying foam. The traditional music
is tuneful, rhythmic and beautifully played, whilst the overall
carnival is bursting with excitement and atmosphere. All in all
the Bolivian carnival was an experience like nothing I had encountered
before and one I would recommend to anyone with a taste for music,
art, culture and history. Just make sure you remember to wear
waterproofs!
Colette
Green is a 24 year old project manager who works for
a medical communications agency in London. She graduated in
Biology and decided to travel to Bolivia and volunteer with
street children in the city of Cochabamba for 8 months.
