96:, or Mother Nature. The combat is in praise of Pachamama, and any blood shed throughout the fighting is considered a sacrifice, in hopes of a fruitful harvest and fertility. Because of the violent nature of the tradition there have been fatalities, but each death is considered a sacrifice which brings forth life, and a donation to the land that fertilizes it. The brawls are also considered a mean of release of frustration and anger between the separate communities. Tinkus usually last two to three days. During this time, participants will stop every now and then to eat, sleep, or drink.
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112:, where the brawl gets the most violent, men will wrap strips of cloth with shards of glass stuck to them around their fists to cause greater damage. Slingshots and whips are also used, though not as much as hand-to-hand combat. The last day of the fight is considered the most violent and police almost always have to separate the mass of bloody men and women.
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oído atento para ubicar dónde estaba el que lo hacía sonar; para que los indios supieran que había un muerto en la comunidad; para anunciar la guerra o, como en este caso único en su memoria para brindar alegría a rostros tristes, plenos de angustia; para hacer esbozar un rasgo de risa a bocas acostumbradas a contener la ira.
49:, 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; eventually the women will join in the fighting as well. Large tinkus are held in
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The dance is performed in a crouching stance, bending at the waist. Arms are thrown out and there are various kicks, while the performers move in circles following the beat of the drum. Every jump from one foot to the next is followed by a hard stomp and a thrown fist to signify the violence from the
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For men, the costumes are more colorful. Their monteras are usually decorated with long colorful feathers. Tinku Suits, or the outfits men wear during
Festive Tinku performances, are usually made with bold colors to symbolize power and strength, instead of the neutral colors worn in ceremonial tinkus
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El pututu había sido por siglos el medio de comunicación más fácil, más rápido, más directo entre los indios. Servía para agrupar a los colonos cuando los necesitaba el patrón; para llamar al tinku — el duelo venido desde el comienzo mismo de la raza; — para que todos los que escuchasen pusieran el
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Baumann, Max Peter. Tinku – zur Fiesta der
Begegnung in der Dynamik von Ordnung und Chaos. In: ¡Atención!, Jahrbuch des Österreichischen Lateinamerika-Instituts. Band. 2: Von der realen Magie zum Magischen Realismus. Weltbild und Gesellschaft in Lateinamerika. Hrsg.: Mader, Elke. Dabringer, Maria.
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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
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Urrea
Bustamante, Fernanda. El tinku como fenómeno y sus manifestaciones duales-antagónicas: Representación y continuidad simbólica del dualismo andino. Diplomarbeit. Pontificia Universidad Católica de Valparaíso. Facultad de Filosofía y Educación. Instituto de Música. Valparaíso,
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Platt, Tristan. Conciencia andina y conciencia proletaria. Qhuyaruna y ayllu en el norte de Potosí. In: HISLA. Revista
Latinoamericana de Historia Económica y Social. Band 2. Hrsg.: Bonilla, Heraclio. Pontificia Universidad Católica del Perú. Instituto de Estudios Peruanos, Lima,
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that help participants blend in. Women wear long embroidered skirts and colorful tops. Their costumes are completed by extravagant hats, painted and decorated with various long and colorful feathers and ribbons. Men and women wear walking sandals so they can move and jump easily.
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The
Festive Tinku, a much more pleasant experience than a ceremonial tinku, has many differences. It has been accepted as a cultural dance in the whole nation of Bolivia. Tinku music has a loud constant drum beat to give it a native warlike feel, while
124:. These helmets are often painted and decorated with feathers. Their pants are usually simple black or white with traditional embroidering near their feet. Often the men wear wide thick belts tied around their waist and stomach for more protection.
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Fernández Juárez, Gerardo. Tinku y Taypi: Dos recursos culinarios pertinentes en las ofrendas aymaras a la
Pachamama. In: ANTHROPOLOGICA. 11. Jahrgang, Nr. 11. Pontificia Universidad Católica del Perú. Departamento de Ciencias Sociales. Lima,
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Arnold, Denise. López, Ricardo. Jukumarinti sawurinti: El soso-guerrero y la tejedora. Un repertorio literario de lo masculino y lo feminino en los Andes. Universidad Católica
Boliviana. Revista número 9 - junio. La Paz,
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Platt, Tristan. Simon
Bolivar, the Sun of Justice and the Amerindian Virgin: Andean Conceptions of the Patria in Nineteenth-Century Potosi. In: Journal of Latin American Studies, Vol. 25, No. 1. (Feb., 1993),
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Flores
Aguanta, Willer. Calendario de fiestas tradicionales en los ayllus de la Provincia Bustillo. In: Reunión annual de Etnología 1993. Band 2, Serie Anales de la Reunión Annual de Etnología. MUSEF, La Paz,
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Flores, Willer. López, Jaime. Plicque, Katherine. Lliqllas chayantaka. Textiles en el Norte de Potosí. En: Anales de la Reunión annual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz.
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Flores Aguanta, Willer. Chullpas en el siglo XXI. (Resúmen histórico del ayllu Chullpa). En: Anales de la Reunión annual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz, 2001.
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Arnold, Denise. At the heart of the woven dance-floor: the wayñu in Qaqachaka. In: Iberoamericana. Lateinamerika-Spanien-Portugal. 16. Jahrgang, Nr. 3/4 (47/48), Vervuert, Frankfurt, 1992.
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During the brawl itself, men will often carry rocks in their hands to have greater force in their punches, or they will just throw them at opponents. Sometimes, especially in the town of
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Stobart, Henry. Primeros datos sobre la musica campesina del Norte de Potosí. En: Anales de la Reunión annual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz, 1987.
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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
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Arnold, Denise. En el corazón de la plaza tejida. El Wayñu en Qaqachaka. In: Anales de la Reunión annual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz, 1992.
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Valeriano T´ula, Emmo. Tinku. Patrimonio Cultural del altiplano central. En: Anales de la Reunión annual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz, 2003
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ceremonial tinku. Many times the dancers will hold basic and traditional instruments in their hands that they will use as they stomp, just to add more noise for a greater effect.
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Baumann, Max Peter. Julajulas – ein bolivianisches Panflötenspiel und seine Musiker. In: Studia instrumentorum musicae popularis. Band 7, Musikhistoriska Museet, Stockholm, 1981.
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Valeriano Thola, Emmo Emigdio. Música y danza de Julajula en Venta y Media. En: Anales de la Reunión annual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz'
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Sikkink, Lynn. Water and Exchange: The Ritual of "yaku cambio" as Communal and Competitive Encounter. In: American Ethnologist, Vol. 24, No. 1. (Feb., 1997), pp. 170–189.
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Corso Cruz, Cristobal. Calendario folklórico y religioso de Potosí. En: Anales de la Reunión annual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz, 1990.
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Stobart, Henry. The Llama's Flute: Musical Misunderstandings in the Andes. In: Early Music, Vol. 24, No. 3, Early Music from Around the World. (Aug., 1996), pp. 470–482.
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Marquez Contreras, Juan Carlos. Vargas Mercado, Oscar Pablo. Tinku: Espacio de encuentro y desencuentro. En: Anales de la Reunión Annual de Etnología, MUSEF, La Paz, 2005.
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Platt, Tristan. Los Guerreros de Cristo. Cofradías, misa solar, y guerra regenerativa en una doctrina Macha (siglos XVIII-XX). ASUR y Plural editores, La Paz, 1996.
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Arzáns de Orsúa y Vela, Bartolomé. Relatos de la Villa Imperial de Potosí. Selección, introducción y cronología de Leonardo García Pabón. Plural. La Paz, 2000.
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Mendizábal Nuñez, René et al. El Tinku en Macha : Violencia ritual y violencia represiva. Cuadernos de investigación 5. CEPA, Oruro, 1996.
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Arrueta H., Walter. El Tinku. En: Anales de la Reunión annual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz, 1987.
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Stobart, Henry. Cross, Ian. The Andean Anacrusis? Rhythmic Structure and Perception in Easter Songs of Northern Potosí, Bolivia. In:
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Arnold, Denise. Ensayo sobre los origenes del textil andino. En: Anales de la Reunión Annual de Etnología, MUSEF, La Paz, 2001.
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Men attend tinkus wearing traditional monteras, or thick helmet-like hats made of thick leather, resembling helmets from the
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Ordoñez Oporto, Luis et al. Primer Simposio Nacional Sobre Revalorización Cultural del Tinku. La Paz, Prod. CIMA, um 2003.
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trumpets were used by the people in order to call for a Tinku encounter, as well as to assemble the peasants when the
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Stobart, Henry. Flourishing Horns and Enchanted Tubers: Music and Potatoes in Highland Bolivia. In:
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required of their presence. Tinku dance costumes are colorful and decorative. Women wear a dress,
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Quechua tradition from Norte Potosí, began as a form of ritualistic combat. In the
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The Bolivian tradition began with the indigenous belief in
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Tinku dancers dancing and performing the dance at the
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253:(in Spanish). Editorial Los Amigos del Libro.
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269:"The Politics of Folk Dances | norient.com"
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458:Categories
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278:2023-07-03
216:2010-11-04
180:References
169:Takanakuy
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94:Pachamama
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163:See also
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88:History
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116:Attire
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