Tinku
Encyclopedia
Tinku, an Andean
tradition, began as a form of ritualistic combat. It is native to the northern region of Potosí
in Bolivia
. In the language of Quechua
, the word “tinku” means encounter. In the language of Aymara
it means “physical attack.” 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; rarely the women will join in the fighting as well. Large tinkus are held in Potosí
during the first few weeks of May.
The story behind this cultural dance is that long ago, the Spanish conquistadors made the people be their slaves. By looking in their costumes, you can see the despite the decorations, the clothes are just some Women: a dress, abarcas, and a hat. Men: undershirt, Pants, jacket, abarcas, and hard boney helmet like hats. Even though they people were slaves, the loved to dance, and would often fight, but never really hurting each other. This dance was brought over to the U.S.A, and now there are many teams such as Alma Boliviana, Tinkus Tiataco, Pachamama, Los Quechuas, Tinkus Wapurs and many more.
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 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 Bolivia, although it originated in Potosí, like the fight itself.
The Andean
tradition began with the indigenous belief in Pachamama
, 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 means 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.
Tinkus occur "between different communities, moieties, or kin groups". They are prearranged and usually take place in the small towns of southern Bolivia, like Macha
and Pocoata. Tinkus are very festive, with a numerous audience of men, women and children, who bring food and beverages. Alcoholic drinks are also brought and sold along with food during the tinku.
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 Macha
in Potosí
, 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.
Men attend tinkus wearing traditional monteras, or thick helmet-like hats made of thick leather, resembling helmets from the Conquistador
s. These helmets are oftentimes painted and decorated with feathers. Their pants are usually simple black or white with traditional embroidering near their feet. Oftentimes the men wear wide thick belts tied around their waist and stomach for more protection.
, guitars, and zampoñas (panpipes) play melodies. The dancers perform with combat like movements, following the heavy beat of the drum.
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 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.
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 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.
Andes
The Andes is the world's longest continental mountain range. It is a continual range of highlands along the western coast of South America. This range is about long, about to wide , and of an average height of about .Along its length, the Andes is split into several ranges, which are separated...
tradition, began as a form of ritualistic combat. It is native to the northern region of Potosí
Potosí
Potosí is a city and the capital of the department of Potosí in Bolivia. It is one of the highest cities in the world by elevation at a nominal . and it was the location of the Spanish colonial mint, now the National Mint of Bolivia...
in Bolivia
Bolivia
Bolivia officially known as Plurinational State of Bolivia , is a landlocked country in central South America. It is the poorest country in South America...
. In the language of Quechua
Quechua languages
Quechua is a Native South American language family and dialect cluster spoken primarily in the Andes of South America, derived from an original common ancestor language, Proto-Quechua. It is the most widely spoken language family of the indigenous peoples of the Americas, with a total of probably...
, the word “tinku” means encounter. In the language of Aymara
Aymara language
Aymara is an Aymaran language spoken by the Aymara people of the Andes. It is one of only a handful of Native American languages with over three million speakers. Aymara, along with Quechua and Spanish, is an official language of Peru and Bolivia...
it means “physical attack.” 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; rarely the women will join in the fighting as well. Large tinkus are held in Potosí
Potosí
Potosí is a city and the capital of the department of Potosí in Bolivia. It is one of the highest cities in the world by elevation at a nominal . and it was the location of the Spanish colonial mint, now the National Mint of Bolivia...
during the first few weeks of May.
The story behind this cultural dance is that long ago, the Spanish conquistadors made the people be their slaves. By looking in their costumes, you can see the despite the decorations, the clothes are just some Women: a dress, abarcas, and a hat. Men: undershirt, Pants, jacket, abarcas, and hard boney helmet like hats. Even though they people were slaves, the loved to dance, and would often fight, but never really hurting each other. This dance was brought over to the U.S.A, and now there are many teams such as Alma Boliviana, Tinkus Tiataco, Pachamama, Los Quechuas, Tinkus Wapurs and many more.
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 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 Bolivia, although it originated in Potosí, like the fight itself.
History
The Andean
Andes
The Andes is the world's longest continental mountain range. It is a continual range of highlands along the western coast of South America. This range is about long, about to wide , and of an average height of about .Along its length, the Andes is split into several ranges, which are separated...
tradition began with the indigenous belief in Pachamama
Pachamama
Pachamama is a goddess revered by the indigenous people of the Andes. Pachamama is usually translated as Mother Earth, but a more literal translation would be "Mother world"...
, 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 means 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.
Groups who participate
Tinkus occur "between different communities, moieties, or kin groups". They are prearranged and usually take place in the small towns of southern Bolivia, like Macha
Santiago de Macha
Santiago de Macha is a Bolivian city of the department of Potosí, in the province of Chayanta. The town had reached a population of nearly 10,000 people by 2008. Most of the young adult works abroad, and the village's marketplace opens only on Sunday...
and Pocoata. Tinkus are very festive, with a numerous audience of men, women and children, who bring food and beverages. Alcoholic drinks are also brought and sold along with food during the tinku.
Methods of combat
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 Macha
Santiago de Macha
Santiago de Macha is a Bolivian city of the department of Potosí, in the province of Chayanta. The town had reached a population of nearly 10,000 people by 2008. Most of the young adult works abroad, and the village's marketplace opens only on Sunday...
in Potosí
Potosí
Potosí is a city and the capital of the department of Potosí in Bolivia. It is one of the highest cities in the world by elevation at a nominal . and it was the location of the Spanish colonial mint, now the National Mint of Bolivia...
, 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.
Attire
Men attend tinkus wearing traditional monteras, or thick helmet-like hats made of thick leather, resembling helmets from the Conquistador
Conquistador
Conquistadors were Spanish soldiers, explorers, and adventurers who brought much of the Americas under the control of Spain in the 15th to 16th centuries, following Europe's discovery of the New World by Christopher Columbus in 1492...
s. These helmets are oftentimes painted and decorated with feathers. Their pants are usually simple black or white with traditional embroidering near their feet. Oftentimes the men wear wide thick belts tied around their waist and stomach for more protection.
Festive Tinku Dance
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 charangosCharango
The charango is a small Andean stringed instrument of the lute family, 66 cm long, traditionally made with the shell of the back of an armadillo. Primarily played in traditional Andean music, and is sometimes used by other Latin American musicians. Many contemporary charangos are now made with...
, guitars, and zampoñas (panpipes) play melodies. The dancers perform with combat like movements, following the heavy beat of the drum.
Costumes
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 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.
Dance
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 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.
External links
- Fotos of the Tinku in Macha and Pocoata/Bolivia
- La Poética de Tinku y otros articulos sobre Tinku
- Group Tinkus Cochabamba
Recommended Bibliography
- 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.
- Arnold, Denise. En el corazón de la plaza tejida. El Wayñu en Qaqachaka. In: Anales de la Reunión anual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz, 1992.
- Arnold, Denise. Ensayo sobre los origenes del textil andino. En: Anales de la Reunión Anual de Etnología, MUSEF, La Paz, 2001.
- 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, 2001.
- Arrueta H., Walter. El Tinku. En: Anales de la Reunión anual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz, 1987.
- 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.
- Baumann, Max Peter. Julajulas – ein bolivianisches Panflötenspiel und seine Musiker. In: Studia instrumentorum musicae popularis. Band 7, Musikhistoriska Museet, Stockholm, 1981.
- 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. Frankfurt, 1999.
- Corso Cruz, Cristobal. Calendario folklórico y religioso de Potosí. En: Anales de la Reunión anual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz, 1990.
- 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, 1994.
- Flores Aguanta, Willer. Calendario de fiestas tradicionales en los ayllus de la Provincia Bustillo. In: Reunión anual de Etnología 1993. Band 2, Serie Anales de la Reunión Anual de Etnología. MUSEF, La Paz, 1994.
- Flores Aguanta, Willer. Chullpas en el siglo XXI. (Resúmen histórico del ayllu Chullpa). En: Anales de la Reunión anual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz, 2001.
- Flores, Willer. López, Jaime. Plicque, Katherine. Lliqllas chayantaka. Textiles en el Norte de Potosí. En: Anales de la Reunión anual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz.
- Marquez Contreras, Juan Carlos. Vargas Mercado, Oscar Pablo. Tinku: Espacio de encuentro y desencuentro. En: Anales de la Reunión Anual de Etnología, MUSEF, La Paz, 2005.
- Mendizábal Nuñez, René et al. El Tinku en Macha : Violencia ritual y violencia represiva. Cuadernos de investigación 5. CEPA, Oruro, 1996.
- Ordoñez Oporto, Luis et al. Primer Simposio Nacional Sobre Revalorización Cultural del Tinku. La Paz, Prod. CIMA, um 2003.
- 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, 1983.
- 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.
- 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), pp. 159–185.
- 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.
- Stobart, Henry. Primeros datos sobre la musica campesina del Norte de Potosí. En: Anales de la Reunión anual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz, 1987.
- 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.
- Stobart, Henry. Cross, Ian. The Andean Anacrusis? Rhythmic Structure and Perception in Easter Songs of Northern Potosí, Bolivia. In: British Journal of Ethnomusicology, Vol. 9, No. 2. (2000), pp. 63–92.
- Stobart, Henry. Flourishing Horns and Enchanted Tubers: Music and Potatoes in Highland Bolivia. In: British Journal of Ethnomusicology, Vol. 3. (1994), pp. 35–48.
- 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, 2004.
- Valeriano T´ula, Emmo. Tinku. Patrimonio Cultural del altiplano central. En: Anales de la Reunión anual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz, 2003
- Valeriano Thola, Emmo Emigdio. Música y danza de Julajula en Venta y Media. En: Anales de la Reunión anual de etnología. Museo nacional de etnografía y folklore. MUSEF, La Paz'