The Bolivian Diablada is an ancestral dance deeply rooted in the culture of the Andean highlands., especially in Oruro, Bolivia, and is an essential part of the famous Oruro Carnival, declared Oral and Intangible Heritage of Humanity by UNESCO in 2001. This spectacle is not only an artistic manifestation, but a symbolic representation that blends elements of the Catholic religion with pre-Hispanic Andean worldviews. To better understand this rich cultural tradition, it is essential to explore more about the clothing in the Bolivian Diablada.
One of the most striking and characteristic aspects of this dance is, without a doubt, its colorful and elaborate attire., where each costume tells a story, represents a character from religious or mythological culture, and is loaded with meaning. Throughout this article, we'll explore each of these costumes in detail, their origins, the evolution of clothing over time, and their symbolism in the Andean cultural context.
Origins of the Bolivian Diablada
The Diablada has roots in both pre-Columbian Andean rituals and Catholic theatrical performances brought by the Spanish colonizers.According to some research, the dance derives from an ancient rite called "llama llama," practiced by the Urus, a pre-Incan civilization that worshipped the god Tiw, the protector of mines and caves. This god, later syncretized with the Christian devil, gave rise to the figure of the "Mine Uncle," central to Bolivian mining imagery.
Over the centuries, especially during the process of colonization and evangelization, these beliefs were adapted to Catholic dogma.Thus, the ancestral demons came to represent the seven deadly sins, while the Archangel Saint Michael personified the divine justice that defeats them. The dance, then, narrates the battle between good and evil, with a redemptive outcome dedicated to the Virgin of Socavón, patron saint of the Oruro Carnival.
The choreographic and symbolic structure of the Diablada
The choreography of the Diablada is carefully structured in movements that represent different passages of this symbolic narrativeIt begins with a salute to the Virgin, followed by changes, crosses, and drawings such as the inverted pentagonal star, a symbol of evil, later purified by the intervention of the Archangel, who with his cross and mirror dissolves the dark forces and guides the devils toward repentance. These sequences are accompanied by popular music composed of cornets, trumpets, and bass drums that reinforce the dramatic effect.
Clothing and main characters of the Diablada
Clothing is more than just festive attire: it is a visual language that communicates the identity, spirituality and history of those who wear it.Each costume, crafted with careful details, vibrant colors, and materials such as sequins, feathers, mirrors, metallic embroidery, and masks, allows the characters of the dance to be identified.
Foreman
The Caporal is the leader of the group of dancers, who sets the rhythm, guides the movements, and maintains the formation. His costume stands out for its black jacket and pants decorated with gold buttons and red and white appliqués. He wears a tall hat adorned with feathers and a golden mask that represents his authority within the group.
Major Devil
The Elder Devil is one of the male protagonists and represents the chief of the demons.His attire is similar to that of the Caporal, although usually more elaborate, with detailed gold embroidery. His mask is more elaborate, with prominent horns, fangs, and a ferocious expression, emphasizing his leadership role in the underworld.
Lucifer and Satan
These characters embody evil in its maximum expression and are usually represented by special dancers.Their attire is intimidating, including long black or red robes with gold details, terrifying masks, and they often carry staffs, swords, or symbolic eyeballs. Lucifer represents rebellion, while Satan represents carnal or intellectual temptation.
Diablos
They are the demonic troop that accompanies the Great DevilThey wear brightly colored costumes, many of them red and black, and masks that vary in shape and expression. Their choreographic presence is essential, as they create the formations and drawings that support the dance's visual narrative.
China Supay (Devil)
La China Supay or Diableza is the central female character within the demonic groupHer attire is one of the most striking, consisting of a short skirt, a shiny blouse, and a cape decorated with infernal motifs. She wears a feminine mask with sensual features and may also wear a crown. This character represents temptation and sin, and often plays a seductive role within symbolic narratives.
Cholas or Supays
They are female characters who accompany the devilsTheir clothing combines elements from Andean women: multicolored skirts, white blouses, blankets draped over their shoulders, crowns, and black masks. They represent the feminine presence within the underworld, but can also symbolize cultural fusion.
Little angels
The little angels are girls or young characters who precede the demonic troupeThey wear white robes, wings, and often carry crosses. Their role is symbolic, representing the light that guides and protects the entrance to the sanctuary where the dance ends.
Archangel San Miguel
Archangel Saint Michael is the highest representative of goodHis costume simulates Roman armor, with a skirt, cape, sword, and shield. He carries a cross or a mirror to reflect the divine light and drive away the shadows of evilHis intervention marks the climax of the dance when he defeats the Elder Devil and converts the demons to good.
Figurines and Jokers
These complementary characters bring dynamism and humor to the performance.They can represent animals from Andean mythology, such as condors, bears, or toads, or characters from popular imagination, such as the Moreno King, the Mexican King, or the Red Indian. The costumes of these figurines are colorful and extravagant, laden with accessories, feathers, and metallic ornaments.
The iconography of costumes: Andean and Catholic symbolism
The Diablada costumes incorporate a rich iconography that reflects the syncretism between the Andean worldview and the Catholic religion.Elements such as snakes, toads, ants, condors, and lizards decorate the masks and capes as a vestige of the legend of the "Sacred Mountain Range of the Urus." This legend tells how the Inca Ñusta (now the Virgin of Socavón) turned the creatures sent by Wari, protector of the Urus, into stone.
The colors are no coincidence either. Red represents blood and passion; gold, divinity and nobility; black, mystery and the occult.Each embroidered or painted detail has a precise symbolic function, the meaning of which may vary slightly between regions.
Materials and preparation
The making of Diablada costumes is an art in itselfIn Bolivia, there are specialized workshops in the city of Oruro where mask makers, designers, and embroiderers work for months to produce a single costume. The masks are made of fiberglass, plaster, or latex and hand-painted. The costumes are made with shiny fabrics, metallic embroidery, and appliqués of small stones or mirrors.
The quality of the costume reflects the status of the dancer within his fraternity. Often, the costumes are inherited or custom-made. The investment can easily exceed thousands of dollars, underscoring the cultural and religious commitment of those who participate.
Music: the soul of the Diablada
The music that accompanies the Diablada is powerful, vibrant and deeply emotional.. It is divided into two main parts: the initial march and the devil's mecapaqueña. Its execution depends on bands composed of wind instruments such as trumpets, trombones, saxophones and percussion instruments such as bass drums and snare drums. These pieces have roots in European Renaissance melodies, but adapted to Andean rhythms that make them unique.
Among the oldest musical pieces is the "Hanajpacha kusikuynin", dating from 1631 and which fuses Quechua lyrics with baroque melodies.Also notable are works such as "Fiestas en la Villa de San Felipe" and "Déjame," used since the Renaissance in Andean religious celebrations.
Regional variations: Puno, La Tirana and other expressions
Although the Diablada was born in Oruro, it has spread to other regions such as Puno in Peru and La Tirana in Chile., where it acquires unique nuances. In Puno, for example, there are two styles: the "old style," accompanied by syncopated sicuris and huaynos, and the "current style," which incorporates modern bands and new characters like the golden and silver Anchanchu.
In Chile, the Diablada arrived in 1952 with the visit of the Oruro Railway DiabladaSince then, local groups have adapted the music, choreography, and costumes to reflect their own identity, while maintaining the central story and respect for the Virgin of Carmen of La Tirana.
Influences and international expansion
Today, the Diablada has crossed borders and is performed in countries such as the United States, Argentina and Austria., thanks to the Bolivian diaspora that keeps this tradition alive. Some fraternities have been recognized by the Vatican, including the awarding of a medal by Pope John Paul II.
In addition, important comparsas such as the Great Traditional Authentic Diablada Oruro or the Artistic and Cultural Fraternity La Diablada have traveled internationally since the beginning of the 20th century., carrying with it not only visual spectacles, but also the profound message of a moral and spiritual struggle represented through art.
The Bolivian Diablada costume is a living manifestation of the cultural syncretism that defines the Andean highlands.Every piece of embroidery, every mask, every dance step is a testament to the cultural resilience, religiosity, and folkloric spectacularity of a people who have successfully combined their pre-Columbian past with their colonial legacy. Whether through sikuris, modern bands, or theater groups, both in Oruro and anywhere in the world where their music is heard, the Diablada remains a symbol of identity, devotion, and colorful resilience.