Exploring Traditional Bolivian Music And Its Two Iconic Songs

Bolivian music and dance are integral parts of the country's culture and history. Two traditional songs and dance styles from Bolivia are the Morenada and the Diablada. Morenada is an infectious folklorico genre that tells the story of African slaves brought to work in the silver mines of Potosi under Spanish rule. The dance costumes include black-coloured masks for men and provocative miniskirts and colourful blouses for women. Diablada, meaning devil in Spanish, is one of the most famous Bolivian dances. It combines Spanish theatrics with indigenous religious ceremonies. Men dressed as devils with elaborate horns perform a ritualised battle dance against female angels dressed in miniskirts until they are defeated by the Archangel, San Miguel.

Other traditional songs and dances in Bolivia

• Morenada
• Diablada
• Llamerada
• Khantus
• Suri Sicuri
• Kallawaya
• Tobas
• Ch’utas
• Waca-Waca o Waca Tokoris
• Tinku
• Tarqueada

The history of Bolivian music

Bolivian music is incredibly diverse, with styles varying between regions and over thirty ethnic groups, each with their own style of indigenous music and instruments. However, there are some common themes. Bolivian music is typically lively and festive, and almost all traditional music can be danced to. It is also often storytelling, with songs centring on legends, history, and messages of hope, love, and nature.

Like many of its neighbours, Bolivia was dominated by Spain for a long time and its culture was heavily influenced by that of its colonial rulers. Even after independence, Bolivian music remained largely based on European forms. However, in 1952, a revolution established nationalist reforms that included cultural and political awareness of the Aymara and Quechua natives. Intellectuals embraced native cultures, and the government promoted native folklore, including the establishment of a folklore department in the Ministry of Education.

In the 1960s, awareness of native music, spirituality, and art continued to grow. In 1965, Edgar 'Yayo' Jofré formed a quartet called Los Jairas in La Paz, using traditional music in modified forms to appeal to urbanites and Europeans. Groups like Wara, Khanata, Paja Brava, and Savia Andina also helped to refine this fusion of native and European music. Singers and groups like Luzmila Carpio, Ruphay, and Grupo Aymara took this fusion of music abroad and gained international praise for their compositions, bringing indigenous Bolivian culture and history to the world's attention.

In addition to foreign influences, Bolivian music also incorporates a range of traditional instruments. These include the charango, charangón, ronroco, hualaycho, zampoña, quena, bombo, huancara, reco reco, chiapya box, pinquillo, tarka, toyos, pututu, Andean saxophone, and Chajchas. Some songs also use European instruments such as the violin and guitar.

Some of the most popular and well-known Bolivian music and dance genres include Morenada, Saya, Caporal, Diablada, and Tobas. Morenada is an infectious folklorico genre that tells the story of African slaves brought to work in the silver mines of Potosi under Spanish command. The dance costumes include black-coloured masks and beards for men, and miniskirts and colourful blouses for women. The upbeat music and dance moves are a surprisingly joyous take on a dark history of oppression.

Saya is another dance and music style with African origins. It blends ancient rhythms brought by slaves from their homeland with traditional Andean flutes and dance steps. The dance is called "Negritos", and the music "saya" was plagiarised and popularised internationally by Brazilian singer Kaoma in the 1980s as "lambada".

Caporal is a similar dance and music style that also originates from the "saya". It parodies the mulatto overseers who managed the large colonial haciendas and their Spanish and Creole owners. The dance costume includes a whip and the clothing traditionally worn by landowners.

Diablada, or "The Dance of the Devils", combines Spanish theatrics with indigenous religious ceremony. Men dressed as devils with elaborate horns perform a ritualised battle dance against female angels, who eventually defeat them. This dance is a remarkable example of the syncretism of indigenous and Catholic cultures and was acknowledged as such by UNESCO, which awarded it a Masterpiece of the Oral and Intangible Heritage of Humanity.

Tobas is a music and dance style that originated with a tribe of natives known as Tobas, who were encountered by the Inca when they ventured into the semi-arid Chaco region of eastern Bolivia. The legend says that the Inca were so impressed with the Tobas' music and dance that they spared the tribe, taking only the best musicians and dancers back to their kingdom for royal entertainment.

Bolivian music and dance

Saya

The saya originates in the Bolivian Yungas region among the country's small Afro-Bolivian community. The main instruments used are the drum and the flute. The men chant "coplas" (a four-versed poem) and the women repeat them while dancing very sensuously. It blends ancient African rhythms with traditional Andean flutes and dance steps. The music is called the saya, but the dance is called "Negritos". The saya is the music style plagiarised by Brazilian singer "Kaoma", who made it famous around the world in the 1980s as "lambada".

Caporal

The caporal is one of the best-known Bolivian music and dance styles around the world. It originates in the "saya" from the Yungas region North of La Paz. It's almost the same as the saya but the costumes worn and the meaning of the dance are different. This dance parodies the mulatto overseers who managed the large colonial haciendas on behalf of their Spanish and creole owners. The whip and the clothing traditionally used by the landowners are part of the dance costume.

Morenada

Morenada is probably the most popular and infectious folklorico genre. It tells the story of African slaves who were brought in to work the silver mines of Potosi under the command of the Spanish. This is represented in their immaculate outfits, where the men wear black-coloured masks and scruffy long beards, while bells around their ankles signify the clinking of slave chains. The women, on the other hand, wear provocative miniskirts and colourful blouses with plunging necklines. The music, outfits and dance moves are surprisingly upbeat for something that symbolises oppression.

Diablada

Diablada is the Dance of the Devils and combines Spanish theatrics with indigenous religious ceremony. Men dressed as devils wear elaborate pointy horns and do a ritualised battle dance against miniskirt-wearing female angels until they are finally defeated by the Archangel, San Miguel. The dance is particularly remarkable for being a textbook example of indigenous and Catholic syncretism, something that was acknowledged by UNESCO who awarded it a Masterpiece of the Oral and Intangible Heritage of Humanity.

Tinku

Meaning "physical encounter" in the language of Aymara, the Tinku dance originated from just that. During colonial times, the indigenous inhabitants of the Potosi region were forced into slavery by the Spanish and would play-fight among themselves as a respite from their difficult existence. Colourfully-dressed Tinku dancers crouch and circle one another, swinging their arms in pretend punches to a warlike drum beat.

Bolivian folk music

Instruments in Bolivian Folk Music

Notable Bolivian Folk Songs and Dances

Bolivia boasts a plethora of traditional songs and dances that are deeply rooted in the country's culture. Here are some of the most prominent and distinctive ones:

• Morenada: Morenada is one of the most popular and infectious folkloric genres in Bolivia. It tells the story of African slaves forced to work in the silver mines of Potosi under Spanish rule. The dance is characterized by elaborate costumes, with men wearing black masks and beards, and women in colourful, provocative attire. The upbeat music and energetic dance moves contrast with the sombre history they represent.
• Caporales: This dance and music style originated in the "saya" tradition of the Yungas region north of La Paz. It parodies the mulatto overseers of the large colonial haciendas. The dance costumes include whips and landowner clothing. The music blends ancient African rhythms with traditional Andean flutes. "Llorando se fue", a classic Caporales song by Los K'jarkas, became internationally famous as the beginning of the lambada dance craze in the 1980s.
• Diablada: Diablada, or "The Dance of the Devils", is a spectacular fusion of Spanish theatrics and indigenous religious ceremony. It features men dressed as devils battling against female angels, with the angels ultimately being defeated by the Archangel San Miguel. This dance is a remarkable example of the syncretism between indigenous beliefs and Catholic influences, recognised by UNESCO as a Masterpiece of Oral and Intangible Heritage of Humanity.
• Tinku: Tinku, meaning "physical encounter" in the Aymara language, originated as a ceremonial war rhythm played during confrontations between ethnic groups. The associated dance involves colourful costumes, with participants crouching and circling each other while swinging their arms to the beat of warlike drums.
• Saya: Saya is a music and dance style that originated in the Bolivian Yungas region within the country's small Afro-Bolivian community. It blends African rhythms brought by former slaves with traditional Andean flutes and dance steps. The men chant "coplas" (four-versed poems), which are then repeated by the women as they dance sensually.
• Tobas: The Tobas dance and music style is said to have originated when the Inca encountered a native tribe known as the Tobas in eastern Bolivia. Legend has it that the Inca were so impressed with their music and dance that they spared the tribe and brought their entertainers to the kingdom. The dance involves athletic jumps and is performed to the rhythm of flutes, chants, and drums.

Cultural Significance

Bolivian musical instruments

Bolivian music is invariably connected to the country's typical dances, with most traditional music being created for dancing. The country's music varies from region to region and is strongly linked to the indigenous peoples of Bolivia.

• Siku ( Aymara )/antara (Quechua)/zampoña (Spanish): A wind pipe made from two series of bamboo pipes of different lengths, traditionally tied together with llama wool strings. The Siku player is called a sikuri or zamponero.
• Quena (kena in Aymara): A simple bamboo flute, 50cm long, with a diameter of 2 to 3 cm, and 6 frontal holes and a back hole.
• Erke (erque) or phututu: A musical instrument made from a cow horn, originating from the Tarija region and played between New Year's Day and Carnival.
• Tarca: A wooden flute painted with bright colours and perforated with 6 frontal holes.
• Ocarina: A round, terracotta wind instrument that can be decorated and painted in multiple ways.
• Charango: A small, round guitar introduced after the Spanish conquest. Charangos are made from wood or the carapace of an armadillo.
• Huancara (wankara): Round drums with two faces made from goatskin. Huancaras are usually used with sikus.
• Bombo: A circular drum made from a hollow tree trunk with two faces of animal skin.
• Chajcha: A chain made of several goat or pig nails that hit each other to produce a sound.
• Palo de lluvia: A desiccated cactus trunk filled with sand grains that make a rustling sound when the tube is reversed.

Other traditional Bolivian instruments include the zampoña (pan flute), the violin, and the guitar.

Bolivian music and Spanish influence

Bolivian music is incredibly diverse, with a wide range of styles and instruments that vary across the country's different regions. This diversity reflects Bolivia's multi-ethnic population, which includes over 30 indigenous groups, each with its own musical traditions. While Bolivian music has strong indigenous roots, it has also been influenced by various external cultures, particularly Spain, which dominated the country for a long period.

The indigenous influence on Bolivian music is profound, with each ethnic group contributing unique instruments, melodies, and rhythms. Traditional Bolivian instruments include the charango (a small stringed instrument made from an armadillo shell), the hualaycho (a small lute-like fretted stringed instrument), the quena (a traditional Andean bamboo flute), and the zampoña (pan pipes). These instruments are often played in ensembles, creating a communal sound that reflects the spirit of Bolivian culture. The music produced with these instruments is typically lively and festive, and it is usually accompanied by dance. In fact, most traditional Bolivian music can be danced to.

Spanish colonisation brought European musical traditions and instruments to Bolivia, including the violin and guitar. Even after Bolivia gained independence, its music remained largely based on European forms. This influence continued into the 20th century, with urban musicians in the 1960s and 1970s incorporating traditional rhythms and instruments into their compositions, creating a fusion that appealed to both urban Bolivians and Europeans.

One of the most famous Bolivian musical groups, Los Kjarkas, blends native forms with African music that was brought to Bolivia through slavery. Their song "Llorando se fue" became an international sensation, sparking the lambada dance craze in the 1980s. Another influential group, Kalamarka, combines folk instruments like the zampoña, quena, charango, and bombo with modern instruments, creating a unique Andean sound.

In addition to these modern fusions, Bolivia also preserves ancient traditions, such as the centuries-old baroque music of the Jesuit Missions in the Chiquitania region, which has been passed down for over 500 years. This music represents an older form of European influence, introduced by the teaching of ancient European Renaissance music to the indigenous peoples of the region.

Thus, Bolivian music is a dynamic blend of indigenous and European influences, with a rich history that continues to shape and inspire contemporary Latin American music.

Frequently asked questions