Llamerada: (Llama drivers dance)

Llamerada is one of the oldest dances of the bolivian folklore; it belongs to the Aymara nation in its origins. Its original name is "karuwani".
Its link with the llama and the auchenics in general dates back to the pre-agriculture epoch, over forty centuries ago. Since those times, the llama gives food, transport and cover. That is why it appears painted in caves and ceramics and sculpted in stone.
For many pre-colombian cultures, dance was art and magic, for the dancing to be produced in reality; is why the llama herder dancers would imitate the scenes of herding in order to keep around the herd.
The llama herder dancing has changed in its magic sense and innovations were imposed in the choreography, costumes, participants and music. However, it has not stopped representing the relationship between the Andean man and the auchenids.

The Andean round - Up

According to tradition, this dance goes back to a human fence around the auchenid herds people would push the animals to press together into a ring until they would reach them with their hands. The llamas, alpacas, vicuñas caught were sheared; the old or injured animals would become food stuff. The round up finished, the "huilancha"or the sacrifice of the propitiatory llama was made, whose blood was offered to gods.

Postilions and herders

According to another tradition, it recalls the Incan postilions in charge of herding the auchenids. It also rememorates the herders of colonial Potosi.
Under the current interpretation, it is a mimicking dance, because it tries to imitate the daily life of the herders and those of the shepherds; but it also represents the virtual linking with the llama, that is why the costume of the dancers is elegant and it recovers old signs of power.

Women and Costume

In most of our dances, women partaking just since three decades ago, but in the llama herder dance a woman are in since ancient times, because the position tasks or that of the herders to Potosi was family activities.
The attire is a mixture of ancient elements, worn by the Aymara since pre-colombian and colonial times until the XIX century, with parts of the current Aymara clothes.
The hat is the most typical; it is square and embroidered with teaseling made of woolen cloth; it recalls the hat that the Aymara authorities would wear.
The man wears a woolen shirt, woolen cloth or silken cloth; the short woolen cloth pants a bit down under the knees; woolen string socks; typical sandals; a colorful bundling square piece tied up on his chest; a chumpi or a multicolor sash that surrounds his waist; a rope hopped in a counter sense of that of the bundling piece. In the most traditional llameradas, men also wear a plaster mask with the lips gathered in a whistling attitude.
Men and women hold a sling or korawa in their right hand, a symbol of the shepherds and llama drivers, the main part of the choreography and of the clothing. Most of the "steps" include the movement of the sling pretending the driving or the throwing of stones.
The women wear one or more wide long polleras (typical kinds of skirts); under the polleras are one or more underskirts or mancanchas made of white fabric; a blouse, and on it a crossed bundling piece.
Colors have changed. The traditional black color is worn by the tatalas (head drivers); the group, and this is one of the innovations wears differing colors according to the fraternity and according to the festivity.
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