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Oruro Carnival
  Diablada
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  Llamerada
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The incas dance in the Oruro carnival

The return of the Pachacuti Incas Watch video

The Inca dance has been asserted itself with originality, despite the incongruencies applied to the costumes, such as the mixing of Tihuanacu culture icons with the classical terraced sign of the Inca nobility.
However it is interesting to observe closely the old "wanka" (tragedy - telling) of this dance, told in Quechua and Spanish and possibly presented since 1871.
On Sunday Carnival, under a splendid Inti (Sun) the sons of the sun do a recall of the "Tragedy of the end of Atahuallpa".
As Jesus Lara stated, this expression does not show "any interest in adjusting to the historic reality".
On his turn, the ethno-historian watched states that with this dance it is looked for a return of a happy scatological Pachacuti.

The Trauma of the Conquest

The dance, in fact, describes the trauma of the conquest; previous encounters, an intelligible dialog, death of Atahuallpa and victory of Pizarro and then an unexpected end sentence of Pizarro in Spain, a malediction of the Europeans and a messianic. And rebellic message of the defeated people.
After the conquest, for the indigenousness, the Spaniards are the ones who caused the rupture of the economical and cosmological equilibrium of the Inca State. The idea that the arrival of the "auqasunk'akuna" (atrange foreign people) would also mean the destructuration an "Upside down World", it would promote in the multitude unconscious mind and the myth of the hope of a new age in which the times of the Inca would regenerate. The destructuration had happened but not the total destruction.
It is interesting to see the coexistence of two ways of thinking, that of the Spaniard and of the indigenous, in which two ways of understanding vis a vis history are held.
Myth is the first try that people do to explain the world and his place in it. The people create it and speak it out.
In the case of the telling of the Incas, the acted "Wuanca" and the myth have founded on the speech to subside up to this day.

Without a writing of their own:

The Incas did not have a writing system of their own and this is the reason why the sources were written by priests, Spanish colonists and Conquistadors. The voice and speech were the only means by which this vision would pass from generation to generation.
According to the myth of Inkarri, after the conquest, the Inca turns into an under ground being and he prevails in the "uk'u"Pacha (the world below). The millennium will arrive when he will have left his kingdom to assert his power in "kay pacha" (the world over here).
The Catholic Church be settled in the power said that the virtual practices were "idolatries" and it organized a religious repression. Watched suggests that the conquest was an aggression and that it caused a trauma in the multitude mentality, which survives in the dance of the Incas, because it is re-performed as a way of violent aculturization or the struggle against oppression from the indigenous side.
The progressive actualization of the myth of the "Return of the Inca's associated in the Andean towns, to other triumphant phenomena of the peasant movement. Therefore, there survives the looking forward to another Pachacuti, of turning this world to another reality, to a Pachacuti that, according to the myth, suggests a transformation and not a mere change. May be the fiction is finished, the rest is history.



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