AUQUI AUQUIS
1. History
The auqui auquis is a dance that comes from Charasani and Puerto Acosta located in the department of La Paz. This dance dates back to the early twentieth century in the colonial era. In the first season was a sign of respect for the old.
This was presumably ceremonial dance but with the arrival of the Spanish completely change it for the little importance attached to things the conquerors of the Indians.
"Auqui in Aymara, as Bertonio, is" Father or Lord. " The first acceptance for family use and the second in terms of social class "(Antonio Paredes Candia 1991:127).
Rigoberto Paredes also translates the word "unmarried princes" (Antonio Paredes Candia 1991:129).
This affirms that the word refers, rather, to the presence of noble lords nobles who sloping downward Incario headed to Sapa Inca. In those days of greatness was a part of the traditional protocol in court Inca.
It shows the figure of his interpreters, ironically seeking justice and administration of the authorities (lawyers and doctors) in the colonial times.
Some attachments currently leading the dancers move us to presume irony, as the outfit is undoubtedly a copy ridiculed Spanish costume, but this gave imposition of Spanish authorities. The overall change in the native costume.
2. Variations of the name:
2.1. In the Aymara language has the following variations:
• Auqui-auqui, auquis or Awki Auqui Awki
• Achachi-kumu "old hunchback"
• Qhopo-qhopo or khopo-khopo
2.2. In the Quechua language are the following variations:
• Machu Machutusoj tusoq or "old dancer"
• machu Kalla
• Siqui-siqui
3. Types auquis
We can mention:
The "auqui auquis" originating in the Andes in the department of La Paz (Bolivia).
The "auquish" that originate from chambara.
4. Clothing
In the dress of this character other than to mention his characterization we can also see that some details of their clothing have meaning.
• A wide-brimmed hat: this can be made of brass or straw, sometimes is hippie-japa. They are huge hats high and wide wings. Adorned with feathers, although in some regions take the feathers.
• The mask: this is an old man, is made of sheepskin and adorned with long beards and mustaches made from a plant called qaqa sunkha. It has slanted eyes and a long nose that usually carry a bell on the end.
• A bag: it could also be a cam, is characterized by long tails which are split into several parts and very ornate large buttons.
• Baggy Pants: this should be two colors one color for each leg, below the knee fit. The colors and quirky pants around his suit symbolizes the incongruity of their actions.
• The hump: hump symbolized this submission, for no one could approach the emperor without carrying a bundle on his back. Also to the accumulation of their guilt and abuse. Today this is still a lump which is fastened with a vicuna wool scarf that goes around under the arms.
• Staff: this is twisted and rustic. This symbolizes the wrongs and abuses of the invaders and as a symbol of their phallic instrument diminished lust. On the other hand wearing a strong color scarf, these items are changed from hand to hand as they danced.
• Shoes: topped boots are ridiculous, with a long nose and are of different color.
• Socks: are coarse, woven wool, white or two colors in the form of rings.
• Other accessories: necklaces carry wayrurus. Also a big wallet made of leather or vizcacha wild zero where sawing is the head of the animal, carried on his shoulder a stuffed animal that can be a skunk, fox or vizcacha.
5. Choreography
Crouching dance with one hand on the right hip aches simulating, the other clutching a very twisted cane with which they hit the ground in time with the music uttering cries intermittent.
Wiping the face from time to time as if transpire or performing with his knees shaking movements, usually including being wobbly bump, sometimes fall to the ground where rise awkwardly. Move the hips to execute the steps changing the stick from hand to hand. Sometimes arms raised as if imploring death, or snore, or whine.
Perform dead figures, circle, cross and zig - zag. In the streets surrounding developments and execute musicians.
6. Curiosities
On the choreographic content and intrinsic significance, and the attire worn. The escutcheons integrate several "elders" that forced and sometimes comical movements flaunt trembling libidinous agility, then falter exhausted.
Although this dance is recognized as only men nowadays this dance is danced by women also, who are known as "tayca-taycas".
Thus we can mention the liria of this dance:
Aymara
auquiñas chamaraqui chamaraqui auquiñas is laborious to be old!
taycañas chamaraqui chamaraqui taycañas is laborious to be old!
sejole… sej… sej.
The music was originally made based on pinquillos, bass and drums. Today it is a growing band of brass instruments and percussion. The pace of the music is original, deliberate and appropriate to the choreography, between fast and slow, alternating.
This dance is danced at parties in honor of male saints (San Pedro, San Andres, San Antonio, etc..).
A subsequent or parallel evolution may be related to dance doc. The dance of the Doctorcitos. He has no age, it is almost a new dance in our folklore. Arguably dance was inspired by the current auquis auqui autochthonous.
7. Bibliography
• Paredes Candia, Antonio: Folk dance in Bolivia; editorial "Popular", (1966, 1991): La Paz Bolivia
http://pacoweb.net/Danzas/DanzasAndinas/auqui.htm
• http://lapaz.ws/archivos/pagina.php?sip=30
• http://www.musef.org.bo/opac-tmpl/css/es/musef/mascaras/01.html
• http://www.unet.univie.ac.at/ ~ a9750175/spanisch/taenze.htm
• http://www.unet.univie.ac.at/ ~ a9750175/spanisch/taenze.htm
• http://noticiasdejuliaca.blogspot.com/2010/05/machutusuc.html
• http://www.kaymillajtay.com.ar/fotos3.htm
• http://www.eldiario.net/noticias/2007/2007_06/nt070601/6_02clt.php
