﻿Vol.2] 
  THE 
  AYMARA 
  — 
  TSCHOPIK 
  555 
  

  

  friendship 
  groups, 
  the 
  members 
  of 
  which 
  dance 
  together 
  during 
  fiestas, 
  

   are 
  composed 
  of 
  individuals 
  of 
  similar 
  economic 
  and 
  social 
  back- 
  

   grounds. 
  Some 
  groups 
  are 
  composed 
  of 
  poor 
  young 
  men 
  who 
  speak 
  

   almost 
  no 
  Spanish; 
  the 
  members 
  of 
  other 
  cliques, 
  most 
  of 
  whom 
  have 
  

   been 
  educated 
  at 
  Catholic 
  schools, 
  are 
  the 
  scions 
  of 
  the 
  wealthy 
  and 
  

   prominent 
  Indian 
  families. 
  Among 
  the 
  Peruvian 
  Aymara, 
  each 
  

   group 
  has 
  two 
  leaders 
  (irpa) 
  who 
  organize 
  and 
  supervise 
  it 
  for 
  3 
  suc- 
  

   cessive 
  years. 
  In 
  western 
  Bolivia, 
  every 
  man 
  is 
  expected 
  to 
  lead 
  in 
  

   some 
  dance, 
  his 
  authority 
  lasting 
  until 
  the 
  dance 
  is 
  finished, 
  when 
  he 
  

   is 
  feasted 
  by 
  his 
  group 
  (Bandelier, 
  ms.). 
  Age 
  grading 
  enters 
  inform- 
  

   ally 
  into 
  the 
  composition 
  of 
  dance 
  groups, 
  some 
  being 
  restricted 
  to 
  

   older 
  people 
  and 
  others 
  to 
  younger 
  men 
  and 
  women. 
  In 
  one 
  dance, 
  

   held 
  by 
  unmarried 
  people, 
  the 
  girls 
  ask 
  the 
  boys 
  to 
  dance. 
  

  

  There 
  are 
  a 
  great 
  many 
  types 
  of 
  dances, 
  all 
  of 
  which 
  vary 
  from 
  one 
  

   community 
  to 
  the 
  next. 
  Some 
  are 
  restricted 
  to 
  men, 
  who 
  play 
  pan- 
  

   pipes 
  while 
  trotting 
  slowly 
  in 
  a 
  circle 
  and 
  swaying 
  their 
  shoulders 
  in 
  

   time 
  to 
  the 
  music. 
  In 
  the 
  fertility 
  ceremonial 
  (coqela), 
  whiclt 
  is 
  said 
  

   by 
  some 
  to 
  imitate 
  the 
  Aymara 
  of 
  the 
  high 
  pampa 
  regions 
  and 
  by 
  

   others 
  to 
  imitate 
  mountain 
  spirits, 
  a 
  fine 
  of 
  women 
  perform 
  a 
  posture 
  

   dance, 
  while 
  men 
  circle 
  around 
  them 
  playing 
  end-flutes. 
  The 
  c'unc'u 
  

   (chuncho) 
  dance 
  is 
  done 
  by 
  men 
  and 
  women 
  who 
  form 
  lines 
  and 
  dance 
  

   in 
  unison 
  (pi. 
  108, 
  bottom). 
  They 
  imitate 
  jungle 
  Indians, 
  wearing 
  

   feather 
  headdresses 
  and 
  carrying 
  bows 
  and 
  arrows. 
  There 
  are 
  many 
  

   circle 
  dances 
  performed 
  by 
  both 
  sexes, 
  the 
  more 
  common 
  of 
  these 
  

   today 
  probably 
  being 
  of 
  Spanish 
  origin 
  (pi. 
  108, 
  top). 
  In 
  the 
  large 
  

   fiestas 
  of 
  the 
  towns, 
  the 
  dance 
  groups 
  progress 
  around 
  the 
  plaza, 
  

   halting 
  to 
  perform 
  at 
  each 
  corner 
  and 
  occasionally 
  at 
  each 
  side. 
  Puli 
  

   dancers 
  imitate 
  birds; 
  others 
  burlesque 
  the 
  Spaniards. 
  Bandelier 
  

   mentions 
  a 
  dance 
  in 
  which 
  impersonators 
  of 
  the 
  Inca 
  Emperors, 
  

   Huascar 
  and 
  Atahuallpa, 
  are 
  carried 
  on 
  litters 
  during 
  a 
  mock 
  battle 
  

   fought 
  with 
  slings 
  (Bandelier, 
  1910, 
  p. 
  115). 
  

  

  Music 
  and 
  musical 
  instruments. 
  — 
  Music 
  is 
  one 
  of 
  the 
  chief 
  esthetic 
  

   interests 
  of 
  the 
  Aymara, 
  and 
  musical 
  styles 
  are 
  well 
  developed. 
  Most 
  

   music 
  is 
  secular. 
  It 
  is 
  used 
  in 
  all 
  festivals 
  and 
  in 
  some 
  ceremonies. 
  

   It 
  is 
  almost 
  invariably 
  accompanied 
  by 
  dancing 
  and 
  drinking. 
  

  

  Musical 
  instruments 
  are 
  played 
  only 
  by 
  men, 
  usually 
  in 
  troupes 
  

   rather 
  than 
  individually. 
  These 
  troupes 
  generally 
  consist 
  of 
  relatives 
  

   or 
  friends, 
  but 
  occasionally 
  are 
  ayllu 
  or 
  moiety 
  members. 
  (See 
  

   Dances, 
  p. 
  554.) 
  

  

  Most 
  music 
  is 
  instrumental, 
  songs 
  being 
  relatively 
  unimportant. 
  

   Many 
  songs 
  are 
  romantic 
  love 
  songs, 
  sung 
  to 
  the 
  accompaniment 
  of 
  

   a 
  small 
  mandolin 
  made 
  of 
  a 
  dry 
  armadillo 
  hide. 
  It 
  is 
  probable 
  that 
  

   both 
  these 
  songs 
  and 
  the 
  instrument 
  are 
  of 
  Spanish 
  origin. 
  Choral 
  

   singing 
  by 
  women 
  of 
  the 
  song 
  describing 
  the 
  ritual 
  hunting 
  of 
  the 
  

   vicuna 
  is 
  an 
  important 
  element 
  of 
  the 
  fertility 
  ceremony 
  (coqela). 
  

  

  