Rattles, luxury and negro culture: The Morenada dancing group:

The origin of the morenada goes back to the employment of black slaves in colonial Potosi, where the miners to replace the indigenous mitayos (pawns) bought them.
The Negroes had already disembarked in America together with the conquistadores (conquerors) and the indians were impressed by the color of their skin. On founding Paria 1n 1.535, Diego de Almagro carried along with him at least 100 Negroes on his journey to Chile.
The slave trade toward Charcas, through Panama and then Buenos Aires, was a monopoly of the European companies.
According to the registers of Liverpool, it was calculated that in only a period of ten years (1.783 - 1793), 878 ships carried 300 thousand Negroes to America, which were sold for 15 million pounds.

From Potosi to Yungas:

The money value of the Negro in Charcas was measured by the age and his level of adaptation. Men and women in their fitness age would be more valuable. The creole morenos (black people) that had some kind of trade would cost more than the semi-wild untamed animals.
After their public auction the "black pieces" would initiate long expeditions from Lima or Buenos Aires towards Potosi where they were to replace the mitayo indians.
However, hunger, thirsty, cold weather, high blood pressure, the scarcity of oxygen, the rigor of the cudgel and the forced marches would foreshadow a sure death.
The compulsory work in the potosean "huayrachinas" in the Royal Mint House twisted strengths and compelled the rich quicksilver traders to get rid of them.
For their adaptation in Yungas, they were specially required for the cultivation of Coripata, Chulumani, Irupana and Chicaloma, which were the towns with most presence of Negroes.
The Murrurata farmhouse was outstanding for its ethnic lineage where the original customs were kept for a long time. It is even told of the existence of a "micro lordship" like the royalty of the dynasty of Bonifacio Kings.

Skirtishes and Rattles

It was in this way that bolivian "angolas and congos" were seen with surprise and commiseration by the quechuas and aymaras, which gave way to the dance of "Morenada" (negro dancing group).
In this context, the heavy skirtish silver of the moreno (the dancer) has diverse interpretations; it would for example, represent the opulence of the master and it would also mean that he would be wearing a wealthy garment of pearls because of the high price the quicksilver traders would pay for them.
While the classical sound of the rattles would remind the crucial marches of the internation of the "black pieces" towards Charcas, Potosi and the Yungas accompanied by a continuous squeaking of the ancient carriages and the heavy chains.

The Actors

It is still a question of getting to the bottom of the problem in a precise way, when, where and how the rutilant dance of fervors and enthusiasm of the indians and mestizos of the bolivian plateau crops up and not anymore by their own exponents, the negroes.
One hypothesis inspired on the rebellion against the caporal (the foreman for the slaves) in a vineyard; a negro girl distracted the caporal with her beauty carrying him to a heady feeling flood. It was there where they got to ridicule him, forcing him to step on grapes and move the wineries wheel turning hate into an ironic, happy and burlesque power full dance. However, Yungas does not have viticulture and viniculture tradition.

Another legend narrates as follows:
During the crossing of the trunks, the master would mark the beat in the slow walking of the negroes. The tiring was expressed by the flipping out and down of their tongue. Together with them was the caporal and behind was the shine of the armature of the masters.

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