The "llamerada" is a Bolivian dance originating from the western region. This article is an excerpt from the book "No se baila así no más…" Volume 2 by Eveline Sigl, and it includes documentation from historians at the Universidad Mayor de San Andres.
History of the Dance of the Llamerada
In the history of the "llamerada," various authors present different perspectives on its origin. Several theories have been proposed, with one suggesting its development in the North of Lípez, while others argue that it had its genesis in the city of La Paz. However, it is a certainty that the "llamerada" did not originate in Peru. The essence of this dance lies in emulating the journeys and movements of the llama herders, who used to carry loads of food and other necessities from one community to another. Thus, the "llamerada" begins with a mimetic representation of llamas.
The "llamerada" stands as one of the most ancient dances in Bolivian folklore. This mimetic dance, which recreates the activities of llama herders, traces its roots back to the pre-Hispanic period, specifically in the Pre-Agricultural Stage. Long before the introduction of agriculture, Andean inhabitants had already domesticated camelids, with the llama being their primary companion, providing them with transportation, meat, wool, fuel, and other resources. Anthropological and historical studies reveal that painting and dance were the primitive forms of artistic expression in these ancient cultures.
Similarly to how llama herders depicted their llamas in paintings and sculptures in the caves of Kala Kala and the Wankarani villages, as well as represented them in the ceramics of Tiwanaku, it is inferred that they also incorporated them into their dances, caring for them and guiding them. Therefore, since pre-Hispanic times, llama herders have carried out their activity across the Aymara lordships, the Inca Empire, the colonial era, the republican era, persisting to the present day. The dance that imitates llama herders, that is, the llama drovers, is extremely ancient, and due to cultural dynamism and the influence of rural-to-urban migrations, it has evolved from being a rural expression to also being performed in urban settings. In recent decades, mestizos and criollos from the western cities of Bolivia have also adopted this dance.
The llama herder tradition dates back to the earliest times of pre-Hispanic history in the Lípez region. Until recently, numerous llama caravans would set out towards the valleys of Tarija and Chichas with the purpose of exchanging salt for corn. Similarly, other caravans headed to the valleys of northern Argentina and the oases of Atacama, now under the possession of Chile, and some even reached as far as Tarapacá. These caravans typically embarked on their journeys during the dry season, spanning from May to September. Although llama herding activity has significantly decreased with the advent of other means of transportation, there still persist caravans following the traditional route—a journey that can extend over months. As an example, in the 20th century and the current century, the renowned llama caravans were held in Colcha K, transporting salt, braided ropes, and bags of llama wool, primarily in exchange for corn sourced from the valleys of Tarija and Tupiza.
The community of Colcha K is steeped in various rituals, festivities, and legends related to llamas and the fox, considered both an adversary and the owner of these animals. In particular, the dance and legend of "Pujio" narrate the emergence of thousands of llamas from a water source due to the fox's provocation. In this region, it is believed that the fox is the owner of the llamas, and therefore, it is granted the right to consume one or two of them. The primary ritual in this area is the emergence of the llama, a moment marked by dances and celebrations.
From what has been discussed, it can be inferred that the Llamerada is one of the oldest dances in the Andean context. However, over time, it has undergone variations, especially in its urban representation. There have been changes in its magical component, and fundamental alterations have been introduced in choreography, attire, participants, and music. Nevertheless, the essence of the dance remains unchanged: to depict the connection between the Andean people and the camelids in general.
It is crucial to recognize that the Llamerada has undergone transformations over the years. The monograph on the Llamerada San Andrés underscores the "difficulties of comparison in the Llamerada, mainly because, while llama herding persists in some regions of the country, it has completely disappeared in others due to modern transportation systems."
During the research conducted in recent years, the existence of dances and chants dedicated to the llama has been verified in the Nor Lípez province, especially during the emergence and departure of the llama drovers. The findings of this research are detailed in a specific subchapter. Additionally, there are references to the presence of these festive rituals in various highland regions, which we aspire to investigate in the near future, such as in the Pacajes province. Despite the divergences between rural interpretations and the urban representations that have expanded over time in terms of rituals, attire, music, and choreography, they all share a common essence: the appropriation of the llama herder's identity.
In regard to the characters, it is noteworthy that the llama herder troupe, composed of both men and women, prevails today, occasionally joined by a couple embodying indigenous authorities: a "mamala" and a "tatala," both adorned in black attire.
The Llamerada dance, as an artistic representation of llama herders, is closely linked to the skill in handling camelids. Historical explanations transport us to times when llama caravans, adorned by the Uru, Charca, and other peoples, stood out as they transported valuable gifts to the Inca.
This dance evokes pre-Hispanic times, where rows of llamas carried products from the Altiplano for exchange with communities in valley heads and steep valleys. The choreography captures the moment of counting the herd, incorporating newborns into a ritual organized in gratitude to Pachamama.
In remembering the llama herders, travelers who carried products from the highlands to different ecological zones, the urban mestizo dancers of the 20th century constructed a dance that emulates indigenous labor. According to José Farfán, director of "Fantasía Boliviana," this dance may have originated in Potosí, possibly in Huanuni, according to the only written source found in a description from 1897 of the Carnival of Pulacayo.
Since llama caravans no longer exist for barter, contemporary Llamerada simply reflects the everyday handling of these animals. For the Llamerada San Andrés, this dance takes on a mimetic character by imitating the specific activity of the Andean man: that of a llama herder and shepherd.
Thanks to the lifelong leadership of Fernando Cajías de la Vega, the Llamerada San Andrés of the Universidad Mayor de San Andrés in La Paz stands out with a unique profile that sets it apart from other similar expressions. This group not only has a robust core actively participating in various cultural activities, almost resembling a folk ballet, but it also attracts upper-middle-class intellectuals who do not fit the traditional folkloric stereotype. Among its members are professors, rock enthusiasts, and students from the Catholic University.
Founded in 1986, this fraternity stands out as one of the pioneers in promoting youth participation in Bolivian folklore. Today, the Llamerada is appreciated for its dynamic and "joyful" nature, recreating the image of idyllic shepherds, although this representation falls short of reflecting the real experience of indigenous peasants. The dance is characterized by its simplicity in steps and the absence of high economic demands, making it accessible and enjoyable for a wide audience.
Unfortunately, the La Paz version of the Llamerada has been subject to appropriation by our Peruvian neighbors, who have copied both the attire and the music associated with this cultural expression. However, it is crucial to emphasize that history unequivocally demonstrates that the Llamerada has its roots deeply embedded in the western region of Bolivia.
Origen de la indumentaria
The Llamerada has undergone notable transformations over the last century, both in its attire and choreography. To address these changes, we will focus on three distinct phases. In the first phase, the dance reflects a native and humble "peasant" image, where only men participate representing the owners or drivers of llamas. The attire in this stage consists of a four-pointed black panilla montera, colonial-style, a wool ponchito, pants or shorts tucked into the sock, a woven wool mask covering the entire head, a chuspa on one side of the body, and a sling in the right hand, simulating herding llamas.
It is interesting to note that the woven wool masks, although no longer found in any dance in the Bolivian highlands, persist in the dances of the southern Peruvian region, linked to indigenous traditions, such as the Khapaq Qollas dance.
In the second phase, the Llamerada takes on a lavish character, incorporating small ponchos, two-pointed hats, and embroidered pants reminiscent of the traditional Morenada costumes. The modern costume is characterized by a highly embroidered panilla or satin bicorne in gold and silver, a plaster mask with whistling lips, a small embroidered poncho and shorts with gold and silver threads, gemstones, and a luxurious sling in the right hand. Women wear skirts of various colors, pleated multicolored aguayos with silver coins, while men wear short ponchos and tight pants embroidered with gold and silver threads, adorned with colored stones, shiny monteras, and fringe.
Historical descriptions mention ornaments of coins and silver in women's attire, with black outer skirts and three inner skirts of different colors, bags lined with ancient coins, and vicuña blankets over the chest. During this stage, some representations included sewing coins onto an apron and the use of woven aguayo skirts, sometimes accompanied by a small llama held in the left hand.
In the current Phase III, the splendor and prestige of the Llamerada have diminished, reflecting changes in attire since the 1950s. The luxurious embroidery of small ponchos and headdresses has been lost, and the small ponchos themselves have disappeared, replaced by aguayos and crossed ropes. Although the llameras no longer wear silver, women still wear aguayos, sometimes reduced to a crossed piece of fabric. The sling remains a prominent element, but the "whistling" mask is in decline, as young dancers avoid wearing masks. Headgear has also changed, and the widespread use of three-pointed monteras resembles those used by female authorities in Jesús de Machaca. Despite these transformations, two-color slings play a crucial role in the current dance choreography, although they have shifted from being multicolored in the past.
Music of the Dance of the Llamerada
The music of the Llamerada is currently performed by a band, although in the past, they relied on sikus, and predominantly, men participated in the dance while cheerfully whistling.
The Llamerada dance is distinguished by significant variations in its music. According to the Llamerada San Andrés, it is danced to the rhythm of music that shares its name. While the foundation is the huayño, as in other dances, the Llamerada has unique characteristics that clearly differentiate its rhythm from similar ones, such as the Kullawada. Just as the traditional attire that the fraternity preserves and recreates, the music also undergoes adjustments and transformations.
In recent years, the fraternity has introduced new Llamerada compositions, especially from authors from Oruro and La Paz. These pieces demonstrate the renewed appreciation given to the Llamerada. Among these musical creations, a piece reinterpreted by the renowned group "Alajpacha" stands out, dedicated specifically to the Llamerada San Andrés. In this way, various fraternities present Llamerada music through new repertoires and diverse groups that maintain the fundamental rhythm of this dance.
Choreography of the dance of the Llamerada
To this day, the choreography of llama herding and herding activities revolves around the essential use of the sling as a tool. The execution of the dance involves a series of "steps" that incorporate sling handling, mimicking both llama herding and stone throwing. At specific moments, sounds are generated to encourage the llamas to continue their path, even replicating the characteristic snap of the sling (q’urawa in Aymara, warak’a in Quechua). This choreographic element, currently confined to indigenous dances, was historically employed for more elaborate formations during the dance.
The dancers weave their dance with the rhythmic handling of slings adorned with multicolored threads. At times, they pass beneath them as if they were a Caudine Forks, at other times they form an X, and they also tie them in various ways. Upon concluding the dance, they surround a vertical pole that boasts a rotating star at its upper end. From this point, ribbons of various colors wind around the mast to the rhythm of slow and delicate steps. The sling and the guide's bell, often carried by the lead llama in the troop's daily walk, are omnipresent elements in each formation change.
Additionally, the representation incorporates the simulation of spinning. The dance style involves shaking and sounding the slings, thus simulating herding or scaring the llamas, while women carry a spindle and wool to simulate the spinning process.
As for the characters, nowadays, llama herders and herdresses prevail, occasionally led by a couple of Mamala and Tatala dressed in black, who represent indigenous authorities. The Tatala of yesteryear bears a marked resemblance to the Waphuri of the Kullawada.
The frequent references to spindle and wool handling, along with the common mentions of coins and silver, along with the ancient resemblance between Tatala and Waphuri, suggest that in its origins, the Llamerada was closely linked to the Kullawada. It is plausible to consider that these two dances, in their early stages, were a single manifestation or evolved from a common prototype.
In the Llamerada dance, group representation is achieved through the formation of circles, semicircles, pairs, and rows composed of men and women. Mostly, men position themselves in the lateral rows to protect the women in the center of the formation.
