The cueca is a couple dance in which the two dance partners move toward and in a semi-circle around each other. The cueca thus acts as a mating dance. The dancer and the dancer each carry a handkerchief in her right hand, with which they emphasize their movements and the Balzcharakter of dance.
The cueca is also referred to as the national dance of Bolivia and is widely used accordingly. Depending on the state cueca Paceña, cueca Chuquisaqueña, cueca Potosina, cueca Cochabambina, cueca Tarijeña and cueca Chapaca be distinguished. The triple rhythm is indeed strong in all these dance variants of the same but vary the pace and style by county. The Cuecas from La Paz, Chuquisaca and Potosí are the most elegant and slowest during the cueca Tarijeña and the cueca Chapaca be danced very fast. The cueca Chapaca heard as well as the Chacarera to gaucho folklore of the Gran Chaco, which extends over Bolivia, Argentina, Paraguay and Brazil. Despite the stylistic differences, there is a basic structure to changes and positions, with the cueca all types can be danced. DC is also toying with the handkerchief. In the Bolivian plateau, the cueca "Viva mi patria Bolivia" is seen as the unofficial national anthem.
2.00 Bolivianos - Llamerada
Llamerada is a popular dance of Bolivian origin. It is a representation of the llama muleteers who went from the highlands altiplano to the valleys to exchange products, using the llama as a means of transporting products. It is also a remembrance of the task of herding llamas and has historical religious value as a ritual of good fortune.
This dance is meant to represent the Highland llama holders and breeders. Therefore, the dancers (male) traditionally hold a little llama in their left hand while rotating the "honda" in their right. Some claim that the Llamerada is a very old, even Inca dance[citation needed], an argument mainly based on the fact that llama herding has been very important to the indigenous peoples of the Andes for centuries and the Inca Empire encompassed parts of Bolivia. There is very little known about how the actual version emerged; even the costumes have changed a lot during the last few decades. The headdress used at present is said to represent the traditional headdress of Aymara leaders (in both sides of Lake Titicaca) and in fact it resembles the headdress of the "Mama Talla", the wife of an Aymara Community leader.
2.50 Bolivianos - Tinku
Tinku, a Bolivian Aymara tradition, began as a form of ritualistic combat. In the Quechua language, it means “meeting-encounter". During this ritual, men and women from different communities will meet and begin the festivities by dancing. The women will then form circles and begin chanting while the men proceed to fight each other; rarely the women will join in the fighting as well. Large tinkus are held in Potosí during the first few weeks of May.
The story behind this cultural dance is that long ago, the colonial hacendados set fights between indigenous campesinos for their amusement[citation needed]. Pututu trumpets were used by the Indians in order to call for a Tinku encounter, as well as to assemble the peons when the hacendado required of their presence. Tinku dance costumes are colorful and decorative. Women wear a dress, abarcas, and a hat and men wear an undershirt, pants, jacket, sandals (abarcas), and hard helmet like hats. Even though the people were slaves, they loved to dance, and would often fight, but never really hurting each other.
Because of the rhythmic way the men throw their fists at each other, and because they stand in a crouched stance going in circles around each other, a dance was formed. This dance, the Festive Tinku, simulates the traditional combat, bearing a warlike rhythm. The differences between the Andean tradition and the dance are the costumes, the role of women, and the fact that the dancers do not actually fight each other. The Festive Tinku has become a cultural dance for all of Bolivia, although it originated in Potosí.
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