"LOS CAPORALES" (THE CAPORALES) The dance of "LOS CAPORALES", is presented for the first time at the end of the sixties by the Estrada Pacheco brothers, (who are considered as the parents and founders of it); in the department of La Paz during the festivity of "JESUS DEL GRAN PODER", which is worth the clarification, has the nomination of "oral and intangible heritage of humanity" by UNESCO. Historical review. Due to the reduced number of natives (inhabitants of what today constitutes THE REPUBLIC OF BOLIVIA), that by diseases brought from the European continent, forms of slave labor, which decimated their number; The inhabitants of the African continent were incorporated as labor force for the exploitation of minerals in the department of Oruro (cradle of "LA DANZA DE LA DIABLADA", capital of Bolivian folklore); and in the department of Potosí (cradle of the dance of the "TONADA TH'INKU"), territories rich in gold and silver deposits, highly valued in the European continent during the colony. The Afro-descendants used to weigh the arduous work days to which they were subjected by the Spaniards, with celebrations of songs and dances that were born in Bolivian territory such as: "LOS THUNDIQUIS (GOLPES DE TAMBOR), LA TUNTUNA Y LA SAYA AFROBOLIVIANA", which are still performed today in the town of "LOS YUNGAS", in the department of La Paz. A member of the Afro-descendant community was designated as "CAPORAL", by the Spaniards, in order to watch over and enforce the orders, infringing punishment as many times as the case merited. It is presumed that, in complicity with his congeners, the "CAPORAL" agreed to carry with him, some instrument that would help to alert his presence and thus the punishment would not be effective, since after all they were brothers of survival. The "CASCABELES", located in the boots as an important element that makes the "CAPORAL" a figure of authority, fulfilled this function to perfection. Note that to the beat of the drums and the dance steps of "LOS CAPORALES", they enter in a perfect synchrony transmitting an energy difficult to explain. One would suppose that the "CAPORAL" having such a distinction, his hierarchical status was "superior" to that of his brothers, but it did not differ from the destiny that sooner or later he would run since he was considered, during the colony, as one more slave. His clothing basically consisted of a hat with prominent wings that protected him from the sun's rays, Chicote (whip), a cloth that covered his torso, a sash around his waist, baggy pants and boots with bells. The female figure of "LAS CHOLITAS", is nothing more than the representation of the chola paceña and her clothing is composed of: a small hat, a blouse, a short pollerita and shoes. In this dance three characters are distinguished and they are: "El macho caporal", "La cholita" (symbol of delicacy and feminine beauty) whose philosophy of an ancestral knowledge of complementarity, which in "aymara" language, describes the cosmovision of the "Chacha - Warmi" (man - woman). And, fundamentally the third character of "La Macha Caporal", which represents - in anthropological terms - the alpha woman, who is in charge of the direction of a government, of a Company or of some important position whose task requires the gift of leadership, since that represents the "CAPORAL", but not for that reason it loses its femininity, and beauty. When asked if the natives of this side of the planet were treated differently during the colony, unfortunately it was not so. That is the reason to identify with our Afro-Bolivian brothers. Among the "CAPORALES" there is a distinguished member, who in Bolivia we call "EL O LA COMANDANTE DE LA TROPA", either in the group of the cholitas, men or the machas caporales who directs, organizes and determines the steps to be executed during the pilgrimage. Welcome to the "CARNAVAL OF ORURO", for the procession that year after year gathers thousands of devotees to pay homage to the "mamita del socavón", which by the way, was named by the "UNESCO" as a "MASTERPIECE OF THE ORAL AND INTANGIBLE HERITAGE OF HUMANITY". In the year 2007, BOLIVIA breaks a world record with 20000 dancers around the world with the sole objective of making it clear that the dance of "LOS CAPORALES" is not an Andean dance; it is 100% of the REPUBLIC OF BOLIVIA (South America). The REPUBLIC of BOLIVIA, seeks to preserve, value its culture, beliefs and folklore transmitting to our next generation the greatest pride that the Bolivian has; translated in the diverse patron saint manifestations carried out throughout the year in Bolivian territory as well as in foreign territory. It is about 40 years that, in the international context, we celebrate with our brothers; Americans, Europeans, Asians, Australians and Africans, the diffusion of the dances of each one of the nine Departaments of Bolivia.

check it out those videos of BOLIVIAN FOLKLORE DANZAS 100% PERTENENCIENTES A LA "REPÚBLICA DE BOLIVIA". DANZA GRUPO CANCIÓN LA DANZA DE "LA SICUREADA": LOS LLAJUAS FT SONK´O WUAYRAS, "Mix Sicureadas" LA DANZA DE "LA MORENADA": LLAJTAYMANTA, "Matraquitas de Plata". MARIAJUANA, "Idilio". LOS LLAJUAS, "Mix morenadas del recuerdo-Live Streaming". DAGMAR DÜMCHEN EDUARDO YAÑEZ, "Morenada Patria" LA DANZA DE "LA LLAMERADA": 100% YARA, "Llamero Solitario". SACHA, "Cholita Linda". BOLIVIA ANDINA, "Abarquitas de Oro" LA DANZA DE "LA DIABLADA": LLAJTAYMANTA, "Eucas". LOS LLAJUAS, "Mix Diabladas para el Mundo" LA DANZA DE "QULLAWADA": ANDINO DE ORURO, "Lilian". LLAJATYMANTA,"Loco Enamorado". MARA,"Si te Vas" LA DANZA DE "LA TONADA TH`INKU": PASION ANDINA, "No Me Dejes". WILSON HOYLE, "Karumanta". TIKAS WAYRA, "Fué". kHARUA, "El Th`inku es Boliviano" LA DANZA, "PH`UJLLAY": CHILA JATUN FT OCTAVIA , "Yo soy de las Montañas". LA RAZZA, "Pujllay Yampara" LA DANZA, "CARNAVALITO": GUISELA SANTA CRUZ, "Maraca Mateo" LA DANZA DE "LOS CAPORALES": LOS VIDALEROS, "La Reina" . AMARU, "Loco de Amor". CLAUDIA ARCE, "Invítame Caporal". QOLQE T`IKAS, "Ríndete al amor" LA DANZA DE "SALAQUE JALK`A": YARA, "Severina" LA DANZA DE "LOS TOBAS": GARDENIA, "Bolivia". SACHA, "Centenario del Sud" LA DANZA DE "LA SAYA-AFROBOLIVIANA": AWATIÑAS"Café, café, cafetal", FUSIÓN SENTIMIENTO, "Afro-Saya", BONANZA, "Yo soy de Bolivia" LA DANZA, "EL TAQUIRARI": GUISELA SANTA CRUZ, "Niña Camba" LA DANZA DE "LOS CH`UTAS": MÍSTIKA, "Baila Cholita". K´ALA MARKA,"Malacum Wawapha" LA DANZA DE "WACA WACA": WAYRA JAPÓN ANDES, "Soran Bushi". RAYMI BOLIVIA,"Kusillos" LA DANZA DE "LOS POTOLOS": YARA, "¿Por qué eres así?" LA DANZA, "EL SALAY": 100% YARA, "Salay Bolivia". MARÍA JUANA, "Golondrina Fugaz". CHILA JATUN, "Te burlaste de Mí". WAYRA JAPON ANDES, "Viva Bolivia" LA DANZA DE "LOS SURI SICURIS": KJARKAS,"Vivo por tí" LA DANZA DE "LA MOSEÑADA" : GRUPO ANDINO, "Tierra Bendita" LA DANZA DE "LOS TUNDIQUIS": LOS LLAJUAS, "Mix Tundiquis". BOLIVIA FITNESS, "Tundiquis Fitness". TUNDIQUI, "Danzare E. M. D. A." LA DANZA DE "LOS INCAS": KALAMARKA, "Sol" LA DANZA, "HUAYÑO": WARITAS DE BOLIVIA, "Cholita de ojos Azules". GRUPO FEMENINO BOLIVIA, "Chaska Chasquita". ESTHER MARISOL-CHAQUEÑO PALAVECINO, "Ojos Azules" LA DANZA DE "QUENA QUENA" : ROCÍO MOREIRA, "Wawitay" LA DANZA DE "LA CACHARPAYA": ESTHER MARISOL, "Las Comadritas" LA DANZA DE "LOS KALLAWAYAS": LOS BRONCES, BOLIVIA, "Al ritmo de los Kallawayas" LA DANZA, "EL SALAQUE": ZULMA YUGAR, "Bailaremos Salaque".

Cuando pasa San Simón de Llajtaymanta