Cortez Iquique Chile

The Nativity in Iquique, Chile.
The Christmas Carols of the Fraternities of Las Cuyacas and

Pastoras
Author(s): Carlos Mir-Cortez
Source: Studia Musicologica Academiae Scientiarum Hungaricae, T. 18, Fasc. 1/4 (1976), pp.
81-152
Published by: Akadmiai Kiad
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The Nativity in Iquique, Chile.
The Christmas Carols of the Fraternities
of Las Cuyacas and Pastoras

by
CARLOS MIR6-CORTEZ
The absence of musicological and ethnomusicological investigations

in relation to the survival of the Nativity festivities in the north of Chile
prompted us to undertake this task.

There exists quite a variety of literature concerning the Chilean
Christmas carols of the central provinces of the country, but it is characterized by miscellaneous or purely descriptive features' and deals mainly
with literary peculiarities or highlights their picturesque aspects.
The folklorologists Luis Gaston Soublette,2 Raquel Barros and

Manuel Dannemann3 have referred tagentially to the Chilean Christmas
carols of the central zones of the country. The musicologists Carlos
Lavin,4 Jorge Urrutia Blondel,5 Eugenio Pereira Salas,6 and the ethno1 a) Jimenez. Raul F. Recordando antiguos Villancicos (Recalling old Christ-
mas Carols). Revista en Viaje. XXVI: 304. 1959. pp. 29-31.
b) Navidad canta en sus villancicos (The Nativity sung in Christmas Carols).
Revista en Viaje. XXX: 362. 1963. pp. 4-5.

c) Aroma navideino y villancicos. Revista en Viaje. XXXIII: 386. 1965.
pp. 13-14.
d) Agrupacidn folklorica chilena. "Nuestra pascua en el folklore". "Crisol."
28. pp. 24-25.
e) Agrupaci6n folklorica chilena. "Celebracion de la Novena del nifio en

Pencahue". Crisol. 34. pp. 24-25.
2 Soublette. Luis Gaston. Formas musicales bdsicas del folklore chileno.
Revista Musical Chilena. XX. 79. 1972. pp. 49-59. Here the author mentions
deals briefly with the Christmas Carol of the central zone of Chile, pointing out
that there are only some differences in the texts with respect to the "tonada"
(tune).
3 Barros, Raquel and Danneman Manuel. Introduccidn al estudio de la Tonada.
Revista Musical Chilena RMCh XVIII. 89 1964. pp. 105-114. A short reference
is made to the Chilean carol of the central zone, saying that it is a song dedicated
to the child Jesus. The authors ascribe the carol to the tune family.
4 Lavin, Carlos. Criollismo literario y musical. Revista Musical Chilean

RMCh. XXI. 99. 1967. pp. 15-49. The author makes a short reference to the
Nativity Festivities in the Great North of Chile, saying: "It is precisely in the confines of the territory that the most enchanting signs and traces of the piety of the
humble plain people persist... In the oases of the Tarapaca desert, especially
in Pachica, a village of Tarapaca. Pica Matilla Huara Mocha Mamifia and Siballa
6 Studia Musicologica Academiae Scientiarum Hungaricae 18, 1976
82 C. Mir6-Cortez: The Nativity in Iquique
musicologist Maria Ester Grebe7 approached the topic in a specific

manner, but - in all those cases - no mention was made of the Nativity
events in the Norte Grande.8 Only the teacher of Musical Education
Norma Petersen made a study of the subject of the Nativity in its general
perspectives.9
The celebration of the Nativity in the town of Iquique, in the

province of Tarapaca, is of special relevance, since it is an integral part
of the religious complex of the Guilds, Communities or Brotherhoods of
dancers of the Norte Grande.
The phenomenon of the Fraternities of dancers constitutes a sociocultural complex which gives shape to one of the most permanent aspects
of the continuity of a religious phenomenon in Chile which, for its peculiarity, is worthy of examination. The more so, if we consider the gradual
extinction'o which has befallen the ritual activity of these Fraternities in
parts of the territory of the country" and in Latin America in general.'2
the festivities begin nine days before the Nativity and last until the New Year
and Pascua de Negros. Groups of "pastores" go the divine offices of the chapels
and daily they go around the neighbourhood singing and dancing and having
themselves presented with all kinds of drinks and delicacies. These groups have
a wide selection of sung verses, as: "Albricias", "Arrurru", "Tamborcitos",

"Parabienes", "Adoraciones", "Pascuas", "Retiradas" and "Despedidas de los
reyes magos". (Farewell of the three wise men from the East). Unfortunately the
author does not give any musical examples.
5 Urrutia, Blondel Jorge. Aires tradicionales y folkloricos en Chile. 10 albums
RCA Victor. 1944 (explanatory booklet). Instituto de Extension Musical, Universidad de Chile. The author points out the character of the carol and ascribes
it to the tune family.
6 Pereira Salas, Eugenio. Los villancicos chilenos. Revista Musical Chilena.

RMCh. X. 51. 1955. pp. 37-48. The writer give a historic and literary view of
this manifestation in the centre of the country.

7 Grebe, Maria Ester. In her Introduccion al estudio del villancico en Latino
America. Revista Musical Chilena. RMCh. XXIII. 107. 1969. pp. 7-31., the writer
approaches from the historical and musicological point of view the Christmas
Carol of the central zone of the country. This is the most comprehensive study
existing up to now.
8 Norte Grande and Norte Chico .The term "Norte Grande" denominates
the geographic region of the extreme north of the country. It comprises the provinces of Tarapaca, Antofagasta, and the Department of Chanaral in the Province
of Atacama with a total area of some 200,000 km2. It belongs to the desert zone.
Norte Chico. - Comprises the provinces of Atacama, not including the

Department of Chanaral, and the provinces of Coquimbo, Aconcagua and Valparaiso with a total area of 110,000 km2. It belongs to the steppe zones.
9 Petersen, Norma. This researcher did the transcription of a Nativity repertory of Cuyacas and Pastoras and a description of the Iquique Nativity in her
work: "Panorama artistico y cultural de los Departamentos de Pisagua e Iquique".
She received the title of School Teacher of Musical Education in 1967, Faculty
of Musical Sciences and Arts, University of Chile.
Studia Musicologica Academiae Scientiarum Hungaricae 18, 1976
C. Mir6-Cortez: The Nativity in Iquique 83
The conclusions arrived at by the works of the above-mentioned

authors, and especially those of ethnomusicologist Maria Ester Grebe,13
can be summed up in the following manner:
A. - The Christmas carol belongs to the Tonada (tune) family,
a sung folkloric genre which is predominantly cheerful and of festive
function.
B. - It is formally adapted to the structure of the poem, generally

of four octosyllabic lines with a refrain or reprise attached. The most
usual forms are: A--B, AABC and ABA/ABA. Binary and ternary forms.
C. - The melodies are syllabic and of alternate metre: 6/8, 3/4, 2/4'
D. - Major mode with a range between six and eight. Tendency
toward joint movement. Exceptional use of larger intervals than the
quart. Polyphony in the third parallel with trajectory converging up
to the tonic and dominant. Instrumental accompaniment chiefly for
guitar with the addition - exceptionally - of the harp.
We can conclude that the characteristics mentioned do not differ
from other sung repertories of Chilean folklore in the central zone of the
country, as: Tonadas, Parabienes and Esquinazos (tunes, salutations

and serenades) which, as we have said, make up the tonada family.
10 Lavin, Carlos. Romerias chilenas. (Chilean pilgrimages). Revista Musical

Chilena. XXI. 99, 1967. pp. 50-56. The author notes in this work that "beyond
the river Maule and in the surrounding lands the rites are changing almost to the
point of extinction; they turn into mere groups gatherings of devotees taking
pains to fulfil their religious duties. Due to the absence of officials appointed to
these pagan rites, so deeply rooted in the north of the country, the pilgrimages
to the large cities are losing much of their real folkloric characteristics. Santa Rosa
de Pelequen, in the Province of Colchagua and San Sebastian de Yumbel, of Conception, perform regular Catholic peregrinations putting aside the customary aspec
and bringing in negroes, peasants, soothsayers, and pedlars. Near the archipelago of
Chiloe one again finds features which are properly folkloric ...".
11 Urrutia Blondel, Jorge. Danzas Rituales en la provincia de Santiago.

Revista Musical Chilena. XXII. 103, 1968. pp. 43- 76. Here the author shows how
the dances of the religious fraternities of the capital, which were formed in 1773,
have become extinct. He shows also how the last "chino" (name applied to the
members of those fraternities) dance of the locality of Caleu, province of Santiago
disappeared, this having been formalized with the death in 1965 of the last alferez
del Baile (ensign of the dance). At the same time he shows us the continued existence of these dances in the locality of Isla de Maipo.
12 See Acosta Saignes, Miguel. Las cofradias coloniales y el folklore. In Estudios
de Folklore Venezolano, folklore series, 1962, Caracas.
13 Grebe. Op. Cit. page 17.
6* Studia Musicologica Academiae Scientiarumn Hungaricae 18, 1976
84 C. Mird-Cortez: The Nativity in Iquique

Examples: Carols of the Central Zone of Chile.
SQue viva el Niffo mi ainado I)ios"
So - fio - ra dofia Ma - ri - a, ven - go
to - daa-ver-gon - za- da,Que vi-vael Ni - fio mia-ma- do
Dios, Quo vi- vael Ni- fiomia-ma - do Dios.

Instituto de Investigaciones Musicales. Universidad
de Chile. Transcripci6n: Carlos Mir6.
,,Sefiora dofia Maria"
Se - fio- ra do-fia Ma - ri - a,-. a - qii le trai-goamihi - ji - to,-
L1i L L I I L L ,L .
pa' que le me-za su cu- na, cuan-do 1lo- re su Ni - fii - to,- A- rru-
rdri a- rru- rri, ,c dudr-me- te Ni-fiio Je - sus, A- rru-
rr, a - rru- rrd,, du6r - me- to Ni-fio Je - sus.

Gainza- Graetzer.,Canten Senores
cantores !;e Am6rica: pag.79
Studia Musicologica Academiae Scientiarum Hungarica 18, 1976
C. Mird-Cortez: The Nativity in Iquique 85

,,Seniora dofia Maria"
Se-flo- ra do-fia Ma - ri-a,. yoven-go de a-114 muy lejos, v su
Villk
Obevtiivo
u~"yt"ui
Nt - fii.-vtole Jtrai-go un par- ci - to de co - je- nos, za-pa-llos le
traigo, papas a- rau- ca-nas,ha-ri-na tos- ta-da pa' la po-bre A-na, re-cau-do le
mandanmi tai-taymi ma-ma la e- fia Jo - se - fay lai ti-a Juana.

Canciones paraJos
Ia Juventud
de Amu
Transcripci6n:
Letelier. pag.
235 rica.'
Objectives
The object of the present work will be to study the musical reper-
tories which are sung and danced annually, on the occasion of the
Christmas festivities in the town of Iquique by the Fraternities of Las
Cuyacas and Las Pastoras, laying emphasis upon the socio-cultural

context which provides the frame for the choreographic conduct of the
members of the said Fraternities.
The Nativity in Iquique is centred around the musico-choreographic activity of the Sorority of las Cuyacas and the mixed Fraternity
of Las Pastoras. As a result the Nativity festivities are an integral part
of the socio-cultural complex of the Fraternities or Brotherhoods of
dancers of the Norte Grande of Chile.
For this reason it will be necessary to examine succinctly the origins
and the present activity of the Brotherhoods in Latin America and in

Chile.
Fraternities in Latin America

The religious Brotherhoods in Latin America were organized in the
XVIth century after the Spanish and the Portuguese Conquests. They
grouped Negro slaves, free Negroes, Indians and also whites, reflecting
the social division of the colonial society.
They were religious societies attached to a church or hermitage

designed to worship the Holy Virgin, any patron Saint or the Holy Sacrament. They were in full swing during the 16th, 17th and 18th centuries.
These Brotherhoods had a hierarchic system of organization which

was regulated by the Spanish Crown through the Leyes de Indias14 and
which was administered, in the Colonies, by the disposition of the Bishops
in their respective Dioceses.

The Fraternities managed funds and goods, however they could
not dispose of these as they wished, since, for this purpose there existed
- in addition to the above-mentioned ordinances - the regulations

which each Brotherhood possessed individually.15 This is the reason for
the responsibility which the Church felt in regard to the use of such
funds, which it wanted to reserve for pious works.
At the end of the 18th century the Fraternities were in possession
of considerable wealth donated to them by the faithful, either while
alive or in the form of legacies. The wealth referred to consisted of jewels,
money, houses and property.

On the 19th of September, 1798, the Spanish Crown ordered the
sale of the estate "of pious works of all kinds and that the product of
these sales and of the special assets be transferred to the Royal Amortiza-
tion Fund at the annual interest of 3 per cent .. . and that successively
these funds be used for the payment of debts of the Crown... ",1
This decree was followed by a Royal Instruction to regulate it, which
establishes in the parts of its Articles:
"1. - In the capitals of the four viceroyships, Mexico, Lima, Santa
F6 and Buenos Aires, and in the captaincies-general of the Philippine
Islands, Chile, Guatemala, the Island of Cuba and Caracas, shall

be established a Junta as sub-delegate of the Supreme...
"2. - The said Juntas shall be composed of the viceroys, presidents,
the most revered archbishops and bishops, the regents of the tribunals ...
"9. - It will be the first care of the said subordinate Juntas to
check carefully and promptly and make a record of the pious works
and chaplainships, be they collective or gentilitious which there

may be in their district, and of the landed property, leaseholds and
and funds which may belong to them in any way.
"14. - Exempt from the above regulation are those fraternities

which consist purely of Indians, for they do not require to dispose
of their goods and properties, nor make the slighest change with
regard to them; however, if there be in their community funds any
surplus effects to be impounded, upon hearing their respective

judges that part of such effects which may be more beneficially
transferred to the Fund of the Gubernatorial Commision shall be
deducted, in whose finances shall be noted and paid the interest

which is current in each province".17
This veritable plunder of the goods of the Fraternities on the part
of the Spanish Crown had a powerful influence for their virtual disappearance; however, another factor which gravitated in like manner
to the above was the successive prohibitions emanating from the bishops
with regard to the functioning of the Fraternities, which were deemed
to be excessively pagan, licentious and anti-Christian.

If we consider the nature of their components, the majority of the
dances had to be stripped of African and indigenous manifestations.

Their origin, the product of the evangelization activities of the Clergy
upon Indians, Negroes and slaves, brought with it a syncretic mestizo
choreorgaphic activity which has retained strength and currency in
some areas of the continent, especially in those zones where there are
strong native and African ethnical components. This, by reason of the
fact that the catechizers permitted the continuation of a varied original
musico-choreographic activity proper to the primitive cultures.

The musical occupation of the Spanish-Portuguese colonial period
rested fundamentally upon the activity of the Fraternities, for whom the
chapel-masters of the epoch composed carols, cantatas and diverse types
of polyphonic works.8s Thus the Fraternities performed a double function:
a. - a vehicle for the polyphonic civilized idioms,'9 and

b. - a vehicle for spreading the autochthonal, indigenous and/or
African tongues.
14 Bishop Diego Bafios de Sotomayor in his Constituciones synoidales of
1687, Santiago, in the chapter: De la8 cofradias y hermandades refers to the control
which the Church should exercise in respect of the foundations and activities of
these groupings, invoking as sources of this authority the Sacred Canons and the
Council of Trento, as well as acts XXII and XXV of Book I of the Recopiliacion
o Leyes de India. Acosta Saignes, Op. Cit. page 59.
15 Acosta Saignes, Op. Cit. page 61.1x Op. cit. page 68.17 Op. cit. page 70.18 Grebe, Op. cit. page 9.19 Claro, Samuel. La musica luso-americana en tiempos de Joao VI de Braganza. Revista Musical Chilena RMCh. XXXVIII. 125. 1974. pp. 7-32. The author
highlights the remarkable upsurge of musical activity in Brazil, especially during
the XVII and XIX centuries, and stresses the role played by the fraternities or
guilds among whose members were various types of musicians and compositors.
Studia Musicologica Academiae Scientiarum Hungaricac 18, 1976
88 G. Mir6-Cortez: The Nativity in Iquique

LOS NEGRITOS
"ala Navidad del Sr"
Juan ae Araujo
A Christmas villancico for a Negro cofradia, in dialect. 1646-1714

Tiple 1.
Los cof- Ia- des do Is es- tle-ya va- mos tu-'rus a be -
. . .I ' L I I I
M10
Tiple 1.
le-ya ve-a le- mo a zio-la-, be-ya con.- clo- lo en

Cont.
,,1 a-II, v mcu-end -
ITenor
.IF
Cont.o
Va-mo, va .mo, cur-ren-ado a-
Studia Musicologica Academiae Scientiarum ungaricae 18, 197
cur-ren-doa- ya, Ay- le - mo un vi-yan- si- co que 10

T ipIe 1. FNa-mo
Ip
Alto
ya cur- ren-do a- ya,
Tenor -
Bajo % "w.
ya cur-ren- do a- ya,
Cont..
F2 0
Tiple
1. I * I I1
com-pondla fla - ci- co zien -. do gay-ta su- fo - Si- co y
com-pondla fla - ci- co zien-, do gay-ta 8 su- fo - si- co y
Cont.~
II -I
.. r r "r, Fr
- J.
Tiple 1.
cue-go lo an-ta- Ia Bla-si- co, Pel- ]i- co, Zuani-co i To- ma.
ue- go 1o can-ts - ia Bla-si- co; Pel- li- co, Zuani- co i To- ma.
Cont.
Tiplel I
Ylo es-tli-vi-yo di- la Gu-lumbe, gu-lum-be, gu-]um ba, gu-lum-
Tiple2.
, , .p'r
Y lo es- tli- vi- yo di - &l Gu-lumbe, gu-lum-be, gu-lumTiple 3.
Alto- -
Gu-lum-
Tenor T
Bajo
Gu-lum-
Cont.
Tiple
1.
ba Gua - che mo-le- ni- yo de sa-faTille 2. "" '""
ba
Tiple
Alto
3.
gua
1
che
mo-
le
be, gu-lum-be, gu-lumn- ba

Tenor
Bajo
"
be, gu-lum-be, gu-lum- ba
Cont.
Studia Musicologica Academiae Sendtiaram Htungaricae 18, 1976
Tiple,
Tiple 2.
.,
la de saf - fa- ]a gua- che

ni- yo de sa- la gpa - che
pe
Tiple
Alto
if
3.
gua
IV
.
che
. IJ
..
1"
..
,
...
gua - che mo- le- ni- o de

Tenorq:
Be 'i" 1 1I PA-VI rI VII
guia- che mo- le-ni- o de sa- fa - la de
Tiple 1.
U." -I I1lM
ba - mo a - hel que ra - en de Ango-la a-zi o - loy a -
Tiple2.
uai- mo a- oel que tra- en de Ango-la a-zi o loy a-
Tiple 3.
sa- fa - Ia
sa- fa- la
Stuia Masicologia Aecademia. Scientiarum Haungariaea 18, 1976
Tiple1 ... .. . . . .. . , . . . . r
V F I r r r y rI I y i F K
zi o- la bal-ta- sa- le con Mel- cho-la y mi pli- mo
Cont.
Tiple.1
i 1. " I' I
Gas - i - par. Va-mo, va-mo, cur- ren-do a6- ya cur - ren-do a- ca,
Tiple 2F
Gas-i - par. Va-mo, va-mo, cur ren-do a,- ya
Tiple 3.B [, .
Alto
Va-mo, va-mo, cur-
Bajo
Tenor',
6.." "
Va-mo, vua-mo, umr-
Cont.
Ti ple M. o . t i Ji
Tiple 2. P1_ w I
r- r rr yrrV
Gu-lumbe, gu-lum-be, gu-lumn- ha, gu-lum- ha,
, gu-lumbe, gu-lumbhe, gu-lum- ba,
AltoW
ren-do a - ya Gu-lumbe, gu-lumbe, gu-lum-
Tenor- r,1
ren-do a - ya Gu-lumbe,. gu-lumbe, gu-lum-
StI
MicJ-
Tiple 1
gua- che mo- li- ni- yo de sa- fa - ]a de
Tiple2.,
I I ,
gua- che mo-li- ni- yo de sa-fa ba
Tenor
Bajo
d="
Cont.
Tiple 1.
sa- fa- la gua- che, de sa- fa- ia.

Tiple
la
2.
gua-
Tiple
Alto -
Tenorh
Bajo
!V
I)F
che,
de
sa-fa-
la.
3.
mo- li- ni- yo de sa--fa- ]a.
gua- che mo- 1i- ni- yo de sa- fa - la de sa- fa- Ja.
Stevenson, Robert.
The music of Perd

CACHUA A DUO Y A QUATRO
(on V[ioline]s y Bajo
Al Nacimiento de Christo Nuestro Sefior
Martinez Compalon, T. IIT, fol. E. 176

Alleg[rett]o
Sopranos 2
AltosME
2.
dObooel . . . . . . . . . . .. . . I "a i-01 . .

f
arco
Ni f Fo i mi jor" qe y F - gra do al ma mi a mi ,son-
tello II- / I I
iPizzicato
EIIIIN
"--- Ir"lp,,"r1:
d Studia Msicologica Academiae S ientiarumn Hun'IgaricIe 18, 1976
,.qudi Muicoogia eadmia ,.cietiaumHunariae 8, 97
gui- to, j or 10 mu - cho (ue teq quie - ro mis a - mo - res te y tra-
je - do. Ay fisos que lin- do mi nino lo es-t4 Ay fisosmi Pad-re miDiosAcha- lay.
!.
Stevenson. Robert.
The music of Pe-r
Studia niMuicologica Academiae Scientiarum Hungaricae 18, 1976
The fraternities in Chile
The ritual activity of the Fraternities of dancers in Chile dates

back to the 16th century, (1596) with the participation of the "chinos"
(a special name for some kinds of fraternities) in the sanctuary of the
village of Andacollo, province of Coquimbo. Previously they had incorporated other Brotherhoods: "Turbantes", "Danzantes", who in their
turn gave birth to other similar groups in diverse zones of the country.
Through the colonial chroniclers we can get a picture of what those
activities were, especially in Santiago.

The 18th century was the one which marked the rise and fall of the
Santiago fraternities. There activity, both musical and choreographic,

was conducted in relation with the festivities for Holy Week, Cruz de
Mayo, Nativity and Corpus Christi, principally and in honour of certain
saints.
Father Alonso de Ovalle, in his Historica Relacion del Reyno de

Chile,20 describes the Holy Week processions, emphasizing the participation of the fraternities of Indians and Negroes "all with a great array
of lights, regalia, banners, dances, music, drums and trumpets, which

made all this bustle most joyful". The ceremony of Easter Sunday ended
with21 "a majestic procession by the fraternity of Indians and Negroes
(Morenos), with much music and dancing, drum instruments, fifes and
side-drums received with merry peals of bells." The Pascua de Negros
was celebrated "with various kinds of dances which give advantage
to the Indians, for they are sprightly and exhilerating".2
Later, and due to the fact these processions often concluded with
joyful festivities, the ecclesiastic authorities finally prohibited them,
and it was-in the year 1763 that the activities of these fraternities were
officially brought to an end.23 Also contributing to this decline were

economic motives related to the lack of clarity in the management of
the funds by the stewards and senior brethern.
20 De Ovalle, Alonso. Historica relacion del Reino de Chile y de las Misiones
y Ministerios que ejercitan en el la Compania de Jesus. Imprenta Ercilla, Santiago
de Chile, 1888, 2 Vols. Capitulos VI-VII y VIII del Libro VIII del tomo II.
21 De Ovalle, Ibid.
22 De Ovalle, Ibid.
23 Urrutia Blondel. Op. cit. p. 48.

24 In 1968 we were personally involved in a research project in the province
of Valparaiso, where we could ascertain the absolute existence of the groups or
fraternities of "chinos" in the rural localities districts of this area. The group was
headed by ethno-musicologist Maria Ester Grebe and was attached to the Chair
of Ethnomusicology and Folklore of the Faculty of Musical Sciences and Arts

of the University of Chile.
Nevertheless, the ritual activity of the Companies of Fraternities

continued throughout the north of Chile from the province of Tarapaca
to that of Valparaiso,24 and in Santiago remains the last vestige of these
activities through the fraternity of "Los Chinos" of the Island of Maipo.25
The ritual activity which survives in the zone with which we are
Dealing26 is in the keeping of the numerous existing fraternities, which
even grouped together and formed a Federacion de Bailes in 1965.27

This ritual activity in the north of Chile is the result of the evangeliza-
tion of the native groups who populate this part of the' territory. The
Catholic Church integrated the festivities of the native calendar into
its -own calendar of celebrations, and especially, into the cults of the
Saints. The integration was not total however, for there still exist some
native celebrations with their primal significance: Festividad de la Pacha-
mama, or, de la Madre Tierra, Rito del Floreo de los Llamos, stc. For
these celebrations no Fraternities were formed, as they remained outside the official patronage of the Church. However, in the majority of
cases, they did make their influence felt.
The Catholic Church encouraged and supported the forming of

fraternities or "Bailes", as a way of maintaining its appeasing influence
over wide sectors of the population of this part of the country. The
proletarization of the Indians and the mestizos, which was the outcome
of the development of mining industries and of some kind of industrializa-
tion, accentuated the interest of the Church in keeping alive the religiousness of the people in areas where the social and political struggle had
acquired strength and firmness.
The principal religious celebrations of the Norte Grande of Chile
are those of "La Tirana", "Las Pefias", and Ayquina",28 but the religious
calendar of the northen fraternities which comprise the people of towns,
villages and settlements in the coastal region, in the pampas, the

pre-Cordillera, Cordillera and the high plateaux, as well as some Oficinas
25 Urrutia Blondel. Op. cit. pp. 52-65.

26 The religious activity of this area causes the tradition of the fraternities
to be maintained whereby they are marked by their geographic isolation from
towns, villages and mining settlements set up in a medium hostile to the life of
man. This isolation turns the institution of the fraternities into a vehicle for the
satisfaction of the needs of its members. This has the dual character of a) protection,
and b) escape.
27 Lavin, Carlos. Op. cit. p. 54, note 16.
28 The feast of the Virgen de la Tirana is held on the 16th of July in the village
of La Tirana 80 km from Iquique. On the Day of the Virgin this village with 200
inhabitants is crowded with over 20,000 persons and over 100 groups or fraternities.
It is the most attended of all the religious festivities of the Norte Grande.
7 Studia Musicologica Academias Scientiarum Hungaricae 18, 1976

Salitreras29 in the desert and in the towns of Iquique and Arica principally, is one of the most active of the country, and the Fraternities and
groups formed human groups engaging in permanent activity.

Within this context the Nativity of Iquique occupies a prominent
place.
The fraternities of the Norte Grande
They originate from the vow or commemorative act of a believer

who, in order to fulfil a promise or pledge made to a saint, virgin or
Nativity celebration, organized a Brotherhood attached to a church or
hermitage. He defrays all the expenses for the functioning of the institution as well as for the clothes and various implements, and he concerns
himself with participation in public acts with a view to meeting the
pledge taken.
The fraternities are organized in a strictly hierarchical way, there
being various instances which assume different functions. In the Norte
Grande the following categories are established.
a) Alf6rez (ensign) - He assumes the economic responsibility of
the body besides performing the functions of protector, cacique or duefio.
b) Mayordomo or Mayordoma (steward or stewardess) - He is
responsible for the cleanliness and decoration of the temples and premises
of the brotherhoods, for the making of the robes for the statues and the
dresses of the dancers.
c) Caporal or Caporala (chief or lady chief) - Carefully chosen

from among the members of the fraternity, he or she is responsible for
artistic questions, and officiates as drum-major, monitor and instructor.
It is his duty to teach the songs and choreographies. He guards the secret
of the rites and solves administrative and other problems of the guild.
He is the spiritual adviser to the officials; 'maintains relations with the
civil and religious authorities.
d) Officials. - Dancers who are members of the guild, brotherhood
or fraternity.
The Feast of the Virgen de la Pefias is held in Livilcar on the first Sunday of
October. The Virgen de Guadelupe de Ayquina is celebrated on the 8th of Septem-
ber.
9 The term "Oficina Salitrera" is used to denominate the mining settlements

where salpetre is processed, and at the same time it is the place of residence of the
miners and their families. They form small villages.
The full survival of these brotherhoods, with the organizational

characteristics mentioned, have their main seat in the town of Iquique,
in the Norte Grande, in the province of Tarapac6; in the province of
Antofagasta, and in the Norte Chico in the provinces of Atacama,
Coquimbo, Aconcagua and Valparaiso. The fraternities in this

extensive zone can be classified according to the local names in two
types: "pesados" (heavy) and "livianos" (light). The first type requires
an instrumental band.30 Its dances are characterized by slow and solemn
movements of parallel formations of marked uniformity. These characteristics are shown by the fraternities of the Norte Chico.
The second type requires small bands composed of diverse combinations of brass and wood instruments, including native instruments like
the quena, pusa or zampofia, Peruvian ocarina and matraca, drum,

Indian drum and the mestizo charango. Its choreographic movements are
richer, involving radial movements, a variety of steps and leaps which

reveal an outstanding degree of agility and physical training. The dancers
of Tarapaca belong to this type.

The groups of "livianos" are divided, according to the chiefs, into two
subcategories: a) - Danzas de Pasos (steps) and b) - Danzas de

Saltos (leaps).
a) Danzas de Pasos: formed by the most traditional groups of
fraternities they are represented by the Lacas, Cuyacas,31 Pastoras,

Llameros and Morenos.
b) Danzas de Scaltos: Fraternities of the Chunchos Antiguos y

Modernos.32 In this last subcategory, marked by it choreographic spectacularity there has been a progressive decline of followers due to the
closure of oficinas salitreras.33
There is also another group of Fraternities of a much more carnavalesque nature, whose recent creation came about by the influence of
the mass media, as in the case of the cinema and/or television. As arch-
type of this tendency, described as "modern" by its promoters, we have

30 There exist various types of instrumental combinations. The most used
instruments are: trumpets, clarinets, fifes, trombones, tuba, cymbal, drum,
native drum. In the Norte Chico there is also a special type of flute which emits
only two sounds.
31 It should be noted that the fraternities of Cuyacas and Pastoras participate
each year in the main religious festivities of the Norte Grande (see note 28). The
Cuyacas have in their care one of the most traditional dances of the ritual repertory
of Chile: "La Vara", a dance of remote origin which is still practised in different
latitudes of the Americas and of the old world.
32 Chunchos. A dancing group of long standing which has undergone some

change, but retains its name and style.
33 See chapter Geo-economy, page 139.
7* Studia Musicologica Acaderiae Scientiarum Hlungaricae 18, 1976
100 0. Mir6-Cortez: The Nativity in Iquique
the brotherhood of the. Pieles Rojas (Red Skins), which bears the clear
impact of the North American cinema. Within this trend there coexist
some dozens of Fraternities of sporadic life, which use suggestive names
like: Huasos, Espafioles, Cosacos, Gauchos, Toreros, Osos, Piratas, etc.

An element which is always present in the religious feasts of the
Norte Grande is constituted by the "diablos" or "figurines". These are
dancers who, without belonging to any company or retinue, dance
together with them or - at times - form spontaneously a small group.
They use masks with horns in the Bolivian style. These personages are
pledgers who by means of their dances solicit some favour from a virgin
or a saint, give thanks for a grace received or expiate some sin.
Dance ,,La Vara"

Cuyacas and Pastoras, La Tirana and other
villages of Tarapaca province.
Trence-mos la va - ra de lin-dos co - lo - re,
Que pa- rez-caun ra - mo de muy lin-das flo - res.

VE 7112 B. Transcripci6n:
Carlos Mir6.
Repertory of the festivity of La Tirana.
Campos Naturdles.
Cam-pos na - tu- ra - les d6 - ja-nos pa - sar,
Por- que tus nor - ti. - nos vie-nena a-do - rar,
Por- que tus nor - ti - nos vie- nen a.a -do - rar.
Sludioa Musicologica Acadermiae Scientiarum Hungaricae 18, 1976

,Las Tardes"
Bue nas tardes ten-gas Ma dre,
.
I
.
I
.
S
I
.%-
Hi ja del e - ter - no Pa dre,
En el cie- lo yen la tie rra,
,I
,I
Tea - do - ra-mos Ma-dre mi a,
Te a - do - ra-mos Ma-dre mi a.
Las Noches.
Bue - nas no - ches Rei - na y Ma - dre
k L .
Hi - ja del e - ter-no Pa - dre
En el cie- lo y en la tie - rra , Tea- do-A %, - I V j

ra- mos Ma a-dre mi - a.
Studia Musicologica Academiae Scientiarum Hungaricas 18, 1976

,Despedida"
Ya - lie - g6 lauul-.ti - ma ho ra,_ de tu
' " p r '-vY r r

no - ve - na- rio san - to, da- nos vi- da pa-ra el
a - fo, pa- ra que vol-va-mos to - dos
W:.
L.L
pa - ra que vol.- va-mos to dos. Uribe Echavarria La Tirana de Ta-
rapaci" Transcripci6n: Urrutia

Blondel, pp. 89-91.
The feast of the Nativity in the town of Iquique

The Nativity in Iquique is centred principally around the female
Sororities of Cuyacas and Pastoras and the mixed Fraternity of Pastoras
and Indiecitos.
The Sorority of las Cuyacas of Iquique34, notwithstanding the relatively recent date of its creation, objectifies in an irreproachable form
the indigene-Spanish secular traditions as it can be inferred that the
above-mentioned date, given by its caporal or guia (chief) as the date
of commencement of activities, simply marks the reorganization of a
group of ancient date.
The work 'Cuyaca' is Aymara and means 'young sister'. The same
word is used to denote the "llameras" or llama-keepers.
Its members do their dancing in fulfilment of pledges and in some
cases out of family traditions.35 Their attitude in the dance reveals
merriness and fervour.
Dress. They have two dresses, one for the Feast of the Virgin of
La Tirana, in coffee colour, and the other a gala dress for the Feast of
the Nativity; it is an ankle-length silk dress, black at the front and the
back, with green sides and sleeves. Ribbons of various colours are sewn
to the ends of the sleeves, to the bottom of the skirt, which is knee-
length, and others hang down from the neck over the shoulders.
"In the year when this repertory was compiled, 1966, its "caporala" or
guide was Dofia Rogelia Perez. Petersen, Norma. Op. cit. page 43."8 Some of its members belong to it through generations, a situation common
among the members of the fraternities by reason of an active religiosity handed
down from father to son.
Round the waist there is a belt of plaited wool to which is attached

a small purse covered with shiny coins and shawl-pins. On the head there
is a green headscarf (phanta) adorned with ribbons and a star at the

forehead. In the hands is held a cord of tressed wool (huaraca) or (sling)
with woolen balls of the same material at the end.
The ritual. The ritual is inaugurated in the church on the Plaza

Arica in the town of Iquique on the 24th of December, where are sung
and danced the round of Christmas carols. Later they do the same thing
in their own premises adorned with a crib, and they also visit some homes
where they have been invited to "cantarle a Manuelito".36 They begin

the day of the 25th of the same month by singing and dancing in their
own premises, later setting out for various "nacimientos o pesebres"

(creches or cribs) situated in private houses, to which they have been
invited previously. There they are regaled with different kinds of delicacies, among them a special nativity loaf and a special drink for the
occasion. It should be stressed that in the houses visited (all homes of
humble families) the Nativity decorations are magnificent with a profusion of lights and adornments occupying the main room.
The dancers (women), usually twelve in number, arrive at the
temple or house dancing to the music of a Pasacalle37 which is played by
group of instrumentalists consisting of: aerophones: fife, tonets and

Peruvian ocarina;38 membranophones; bass drum and Indian drum.
The ceremony then commences with: a) the entry. Music: Pasacalle.
Rapido
,,Pasacalle"
1.
2.
The dancers enter the temple or house and having finished the Pasacalle
they continue with: b) Saludo or buenas noches (greeting or good evening) which includes the introduction of the fraternity: "Aqui estan tus
indiecitos de rodillas a tus pies" (here are thy little Indians kneeling at
36 Manuelito. The name given to the child Jesus in the Andean area. This
name is not commonly used in the centre of Chile. See Pereira Salas. Op. cit.
a7 Pasacalle. An instrumental melody whose function is to allow the passing
through the streets of the groups of dancers. At times it is used as an interlude
between the carols contained in the repertory.
3s Tonet. An aerophone without a mouthpiece made out of plastic material.
The column of air is controlled by a finger-board. Ambit ranging between one
and a half and two octaves.
Ocarina peruana. Free aerophone made out of metal or ceramics; it is globular

in form with orifices along its cavity.
thy feet). In the same way a greeting is made to the Holy Family:
"buenas noches Manuelito a Maria y San Jose aqui estin tus indiecitos
de rodillas a tus pies" (verse No. 3).
The dancers move towards the manger singing this carol, the song
is "a capella", the movements are accommodated to the ternary compass
of the carol with the performing of short steps. In accordance with the
actions expressed in each of the strophes the corresponding mime is
made: kneeling, (verses Nos 1 and 3), showing a star (verse No. 2),
crossing oneself (verse No. 4), walking or trotting (verses No. 5). Each
strophe is preceded by an estribillo or refrain which is sung at high speed,
conferring upon it a mirthful character. c) Continues with the "ofrendas"
(offerings) or the "arrurru". The dancers go over in pairs to the child

pretending to give it offering, while singing the refrain "arrurru"..."
They pretend to hold the baby in their arms and rock it and lull it...
The song is also "a capella". They finish this carol singing in a kneeling
position the request for Benediction in the last strophe. d) From carol
No. 3 "Las Pascuas" (Christmas) to No. 9. "Tamborcillo" (little drum)
they continue with the following features: 1. Song "a capella" and in
unison. 2. Choreographic movements or "Mudanzas" which take place
between each carol and each strophe respectively. 3. The movements in
the binary bipodic carols (Nos 2, 3, 5, 6, 7 and 8) are made on the subdivision of the beat of the compass producing the following scheme F [ n
In the monopodic ternaries the movement is made on the compound

beat J. producing achieving the following rhythm J , conferring upon
it a waltzing character. 4. The majority of the carols (Nos 2, 3, 4, 5,
7 and 9) include the request for benediction sung in a kneeling position.
5. The two dances of native origin: "Las cachuas" and the "huachitorito" exclude the request for benediction and have a markedly sprightly
character. The latter includes simulations of the art of bull-fighting

played by a woman holding a red handerchief and a man acting as the
bull. 6. The Caporala directs the whole ceremony and takes with her
the book containing the songs, which is often consulted and jealously
guarded. 7. The ringing of the Caporala's bell is, in all the carols, the
signal for the commencement of the singing, the dancing, and choreographic changes, the commencement of Pasacalles, zapateos (beating
time with hands and feet), etc. 8. The pleated cord or "huaraca" is used
to perform various kinds of geometrical figures such as circles, triangles
and stars. For this the dancers take hold of the cords manoeuvering in
quick and agile combinations. 9. The dance is brought to an end with
the carol "La Retirada", in process of which the dancers slowly withdraw.
Studia MIuicologica Academiae Scienttiarum Hungaricae 18, 1976
Repertory of the Sorority of Las Cuyaca8
Carol No. 1. (Example: 12)
"Buenas noches Manuelito"
Moderato
Bue-nas noches Ma - flue- li- to,
bue-hnas no - ches su Mer - ced,

A- qui es-t~n tus in - die - ci- tas
de ro - di - las a tus pies,
A- quies- tin tus in - die - ci- tas
de ro - di - las a. tus. pies,
Estribillo -rapido
Qui-quii-ri- qui co-co - ro - c al Ni - io T)ios lo quiero vo.
Form: AABACC. Strophic
Mode: C major
Range! (11)
Part A. (antecedent). Predominance of ascending fourths which imprint

a climatic character upon the phrase: bars 1 and 3.
Coinciding with the nawe "Manuelito" the most important of the
words.
Consequent: compass 5. The fourths are not in the majority but they
have that relevance which imprints an ascending leap (necessary tenStudia Musicologica Academiae Scientiarum Hungarica. 18, 1976

sion). Following them in order of importance and quantity are the intervals of third whose function is of distension and of cadencial character.
The compasses 6, 7 and 8 make up the complete cadence.*

In section B predominate the joint grades (bars 9 and 10) descending
in the antecedent, and ascending in the consequent, and taking also the
intervals of third and a leap of fourth descending. In the refrain alternate
unisons and thirds which give rise to the dominant arpeggio of the per-
fect cadence. The sentences are monopodic ternary.

English version
Text:
"Good night, Manuelito

son of Mary and Joseph (bis)
thy little Indians are already
kneeling at thy feet" (bis)
Refrain
Qui, quiri, qui, co, coro, co

al nifio dios lo quiero yo (bis)
Text:
"What contains that star
no doubt the child born (bis)

deep in the darkness
with his light will shine upon us (bis)
Refrain
Qui, quiri, qui, co, coro, co
the child Jesus I do love (bis)

Refrain
Already the bells are ringing

calling us to pray (bis)
due to fright and fear
I am unable to cross myself (bis)
* Although all songs here are unaccompained, we shall refer to cadences because in the majority of the songs there exist a kind of implicit harmony. For the
significance of this see the conclusions.
Studia Musicologiea Academiae Scientiarum Hungaricae 18, 1976

Refrain
Come Francisco soon
soon it will be midnight (bis)

if we do not go quickly
the cock will crow cocoroco (bis)
Refrain
Metrics: Octosyllabic pean verses
Spanish version
"Buenas noches Manuelito
a Maria y a San Jos6 (bis)

ya lRegan tus indiecitos
de rodillas a tus pies" (bis)

Refrain
"Que contiene aquella estrella

sin duda el nifio naci6 (bis)
en medio de la tinieblas
con su luz nos alumbr6" (bis)

Refrain
"Ya tocan las campanillas

ya nos llaman a rezar (bis)
con el susto y con el miedo
no me puedo persignar" (bis)

Refrain
"Camina Francisco breve
media, media noche son (bis)

que si no andamos ligero
cantara cocoroco (bis)
Refrain

Carol No. 2. (Example 13)
"Las ofrendas o arrurru"

Las Ofrendas o Arrurrd.
Moderato
Yo le tral-go al Ni- fio es - to pa - j;i - ri - to,
A.- rru - riT mi 'Ni io a - rru - rr sin par,

r
-.
Pa - ra que.le can-te vi - va Ma -nue - li - to,

O- jos de lu- ce-ro bo- qui-a de coral.
Form: AABB. Strophic

Mode: E flat major
Range: ninth
Unusual intervals if we consider the many leaps fourths, thirds and sixths.
Anacrusic, bipodic binary phrases. The refrain is sung with the same
melody and form of the complete song
"I bring to the child
this little bird (bis)
that it may sing to thee
viva Manuelito (bis)

Refrain
Hush, hush, my child,
without equal
eyes bright as a star
mouth of coral (bis)
this cord of gold
so that he may
tie his animals with it (bis)

Refrain

this little bowl
so that from it
he may take his tea (bis)


Refrain

this little spoon
so that with it
he may take his soup (bis)

Refrain

this little willow (bis)
so that with it
he can make his little cradle (bis)

Refrain
"Benediction (kneeling)"
"Allow my Child
that we receive from thee
thy Holy Blessing for which we hope (bis)
Metrics: Hexasyllabic, trochaic verses
Carol No. 3 (Example 14)

"Las Pascuas"
Las Pascuas.
LexitoL
A-mi-gos pas- to - res, va -mos a Be - le - 6n,
il
iM
A dar-lea la vir - gen, grandes pa- ra- bi6n,

Estribillo
La pas-cua le da - mos con el pa-ra - bi - 6n,
Ya es-te Ni-fioher-mo - so naci-do en Be - Idn.
Form: AABBCBB. Strophic

Mode: (B minor)
Range: Seventh major
Studia Musicologica Academia. Sientiarum Hungaricae 18, 1976
Melodic trajectory with predominance of leaps of third which becomes a characterizing motive of the antecedent of B; following them
in equal importance are the ascending joint grades, successions of three
tones and two leaps of fifth with two uses; a) in the musical discourse
and; b) with cadential character, final of B.
Rhythmic structure: A clear rhythmic pattern is given, which only
changes by augmentation in the final cadences of B.

Tethic, dipodic, binary phrases.
"Shepherd friends
let us go to Bethlehem (bis)
to give to the Virgin
great felicitations (bis)
Refrain
We offer Christmas greetings

with our felicitations
and to this lovely child

born in Bethlehem (bis)
"The dark manger

says that it is a sun (bis)
a cheerful abode
a sweet dwelling (bis)

Refrain
Already the shepherds are going

playing timbrels
to adore the child
who was born in the straw (bis)

Refrain
Divine star
lead me into thee (bis)

keep me by thy side
do not let me go (bis)
Refrain
"Lovely child
receive my love (bis)
Studia Musicologica Academia. Scientiarum Hungaricae 18, 1976
beside thy cradle

I leave my heart (bis)"
Refrain
"Lovely morning star

comes to us to announce (bis)
wise men from the East
are going to seek him (bis)

Refrain
Benediction (kneeling)
"Grant to us little child
our blessing (bis)

so that we may receive
forgiveness from thee (bis)"
Metrics: Hexasyllabic, amphibrach verses.
Carol No. 4 (Example: 15)

"Albricias"
Albricias.
Andante
Va - mos cas-ftaa- mi'- ga ca - mi- no ve - loz,
Estribillo
Que.un an-gel nos di - ce que._ha naci - do Dios,
Al - bri- cias, al - bri- cias, al - bri- cias pas - to - res,
Que ha ve - ni - do al mun- do la flor de las flo - res.
Form: AABBCBB. Strophic

Mode: C major
Range: Seventh major
Studia Musicologica Academiae Scientiaraum Hungaricae 18, 1976
112 0. Mir6-Gortez: The Nativity in Iquique

Trajectorially predominating are the joint grades and the displacement by thirds, which underline the perfect cadence. The other interval
which follows in importance is that of the fourth.
Anacrusic, monopodic ternary phrases.
Text:
"We are going virgin lady

with all haste (bis)
for an angel tells us
that the Lord is born (bis)
Refrain
Joy, joy,
joy, shepherds (bis)

into the world has come
the flower of flowers (bis)
"All the sheperds

wish to see (bis)
and admire
this creator (bis)

Refrain
"Standing by the cradle

the ass and the ox (bis)
offering humble
straws from Bethlehem (bis).
Refrain
"Thy mother adores thee,

And thy father too (bis)
the pretty shepherdesses
are coming thee to see (bis)"

Refrain
"Child Jesus
thou are like a Sun (bis)

thy eyes
have the sweetness
of love (bis)
Studia MuicoIogica Academiae Scentirarum Hungaricae 18, 1976

Refrain
"We pray thee child
with all good heart (bis)
grant us thy graces
and thy blessing (bis).
Metrics: Hexasyllabic, trochaic-amphibrach verse.
Del pe- se-brea - le - gre laher-mo- sa don- ce - lla,
A-ltiees-t 1eiNi - fii - to que a- nun-ci6 laes - tre - Ila.
Form: AABB Strophic

Mode: G major
Range: Seventh
Melodic trajectory with predominance of third leaps; joint grades
and return notes. Part A on plagal cadence and B on cadence perfect.
Rhythmic formula I I I I I excepting compass six where the
second black is subdivided. Tethic, dipodic, binary phrases.

Text
"From the joyful manger

the pretty maid (bis).
There is the little child
that the star announced (bis)

Refrain
Let us all adore
all in equal manner

eyes of splendour
mouth of coral (bis)
114 0. Mird-Cortez: The Nativity in Iquique

"An angel answers
in the same compass
glory in heaven
and peace on earth (bis)

Refrain
"Do not weep my child

fair beyond compare (bis)
within the straws
a stream of crystal (bis)

Refrain
"Benediction Blessing (Kneeling)

"Accept my child
that to receive from thee, (bis)
thy holy blessing
is what we hope for (bis)
Metrics: Octosyllabic, dactylic, trochee verse
"Las Cachuas" (Indian dance)
Tres na - tu- ra-les de Yo - ya a - ca-mos tie-nes mi Ni - fio,
que ve- ni-moafes-te - jar - te con a- feoc-to y ji - bi - lo,
Ay si ay - no al Ni- iio lo quie-ro yo, Ay si ay - no al
Ni - fio lo quiero yo.
Mode: C major
Range: Octave
Melodic trajectory part A, predominance of third leap. B: leaps of
sixth, fourth, eight and third in decreasing order.
Great melodic and rhythmic dynamism. The rhythm J7 is charac-
teristic of the Andean dance music.
Studia Musicologica Academia. Scientiarum Hungariae 18, 1976
Rhythmic formula f [ F]" 1 J. The first semiphrases of A and

B are above the plagal cadence and the second semiphrases of responses
are above the authentic cadence.
Anachrusic, dipodic, binary phrases

Text:
Three men from Yoya

here thou hast us child (bis)
who have come to celebrate thee
with affection and rejoicing (bis)

Refrain
Ah yes, but yes,
the child I do love (bis)

"At the gates of Bethlehem
the shepherds are lighting a fire
to give warmth to the child
born among the flowers (bis)
Refrain
"Virgin Mary
Here I bring thee the pears (bis)
though they be not ripe
they were picked with care (bis)
Refrain
Metrics: Octosyllabic dactylic-trochee

"La Bandera"
--
Por a - U11 pa - s6 na - die- lo sin- ti6;...
So - la la ban - de - ra so - la se ba - ti6.
Form: AABB strophic

Mode: C major
Range: Ninth
8* Studia Musicologica Academrniae Scientiarum Hungaricae 18, 1976

Melodic trajectory with predominance of leaps of third (6) and leaps
of fourth (2). Combining joint grades with triadic successions. Anacrusic
dipodic binary phrases.

Text:
"That way he passed

no one felt it (bis)
only the flag stirred in the air (bis)
Refrain
Let us follow shepherds

the rays of the sun (bis)
which in Bethlehem illumine
the cradle of the Lord (bis)

"There is my Manuelito
oh, mi little child (bis)
in the straw
like a little goldfinch (bis)

Refrain
Holy Saint Ann

ring thy bell (bis)
for the child is crying
for an apple (bis)

Refrain
Holy Saint Joseph

highest mayor (bis)
wawe thy flag
for the Lord to pass (bis)
Refrain
Holy Saint Joachim

play thy violin (bis)
for the child is crying

for a kite
Studia Musicologica Academiae Scientiarum Hungaricas 18, 1978

Refrain
"Saint Joseph and Mary

and Saint Elizabeth (bis)
are passing through the streets
of Jerusalem (bis)
Refrain
"They say that the manger

is all resplendent (bis)
for this child
who is the creator (bis)

Refrain
"Let us follow shepherds

the rays of the sun (bis)
for a star announces
that the Lord is born (bis)

Refrain
"Accept my child
that to receive from thee (bis)
thy holy blessing
is what we hope for (bis)"
Metrics: Hexasyllabic trochee-amphibrach verse
Studia Musieologico Academia. Scientiarum Hungaricae 18, 1976
118 (. Mir6-Cortez: The Nativity in Iquique

"Huachitorito"
Allegro
Qu~ a-que-llo que re'lume- bra en medio de a- qu61 ver-
de, quees a-que-llo que re-lum-bra en medio de a-qu6l ver-
J_-" '
,LTL .
de, e - rel Ni- fli. - to Je - ass que na-ei en a- qu61 pe - se Estribillo
bre. A la huachi huachi to- ri - to Ni - fli-to del Por-ta - ii -
to, a la huachi huachi to- ri - to Ni- fli-to del Por-ta - ii -
A -------. - I
to, huachi hua-chi hua-chi to - ri - to Ni - fii - to, huachi
hua-chi hua-chi to - ri - to Ni- fii - to.
Form: AAAAABB. Strophic

Mode: C major
Range: Hexachord (minor)
-l. Rhythm of Andean dances, rhythmic form in A; 7 1 H - J,
estribillo or refrain I ,= n J, variation per rhythmic subdivision.

Thematically the estribillo (refrain) is bipartite. Repetitive melody
of intervallic dynamism: alternation of fourths and thirds with little
cells of joint grades.
Text:
"What is it that is shining there

in the midst of all that green (bis)
It will be the child Jesus
who was born in that manger

S~tudia Musicologica Academiae Scientiarum Hungaricae 18, 1976

Refrain
A la huachi huachi torito
ninito del portalito (bis)

"Huachi, huachi, huachi little bull, little child (bis)
In a dark manger full of cobwebs
Virgin Mary gave birth to the redeemer of souls.
Refrain
Little bull as you are brave

come and play at lassoes (bis)
the little Indians of the puna (bleak region)
can cut your horns
Metrics: Octosyllabic irregular dactylic verse.
Carol No. 9. (Exemple 20)
Tamborcillo.
Moderato
(Retirada)
Hoy se en - cuen - tra ya na - ci - do,
To - ca to - ca tam - bor - ci - 11o,
nuestro rey i - ni - ver - sal,

son las hi - jas de- Be - 16n.
En Be - 16n en un pe - soe bre,

Le da - re - mos a la Vir - gen,
es- te Ni - io ce - les - tial,

fe- liz fe - liz a - ra -bin.
Mode: C major
Range: Ninth
Studia Miusiceoloqica Academiae Scientiarum Hungaric*s 18, 1976

Trajectory: first semiphrase above plagal cadence and leap of sixth
minor creates melodic and harmonic interest. Predominance of leaps of
third. Pneumatic cadences. Anacrusic monopodic ternary phrases.
Text:
"Today was born

this heavenly child (bis)
our universal king (bis)
in a manger in Bethlehem
Refrain
Sound, sound little drum

they are the children of Bethlehem (bis)
we shall give to the virgin
a happy, happy welcome (bis)

Refrain
Our redeemer Jesus Christ
give us thy blessing (bis)

so that we may all return
with more faith and devotion (bis)."
Metrics: Octosyllabic trochee
Fraternity of the Indiecitos or Pastoras

A mixed group whose sole function is to dance for the Nativities,
from the night of 24th of December until the 6th of January, which is
called "la Pascua de los negros". This last day is called the feast of the
"cacharpalla" or farewell.
There exist in several villages and saltpetre oficinas salitreras (La
Tirana, Camifia, Mamifia, Pica) various groups with this name and to
fulfil the same function. Their repertory is similar, there being between
them slight variations in the melodies and choreographies.
The Iquique group is about eighty years old (as at 1966) and its
members are old people.
Studica MuicoloOgica Academiae Scientiarum Hungaricae 18, 1976
The dress of the women members is similar to that of las Cuyacas;

it differs only in a great use of adornments: necklaces, pins, etc. In the
hands the "guaraca" (whip) is held.
The male dress consists of a woolen cap which covers the ears (Chulo).
A wide-sleeved shirt of any colour, over this a woven poncho with stripes
or "aguayo". A band of wool crosses over the poncho. At the waist a
woolen girth-band from wich hangs a small purse, "chuspa", full of
adornments and coins. Dark trousers stitched at the sides with green
tape. Below the knees three coloured ribbons (yellow, green and red)
cover the trousers. In the hands the "guaraca" which has pompons at
the ends made of the same material; this is used for making spectacular
capers - suns, stars, triangles - which are formed and unformed
rhythmically.
This group carries on a similar ritual activity to that of las Cuyacas.
It consists of about twenty persons. They commence the ritual on the

night of 24th December with the "SALUDO" or Buenas Noches. However, as this carol is similar to that used by las Cuyacas, they call it"Los
Negros", then they continue with "Las Cachuas", El Huachitorito, "Los
Pastores", and end with La Retirada or the last carol sung on leaving
the crib visited. In the last verse - the request for Benediction - they
kneel to the ground.
For the 6th of January "pascua de los negros", a new carol "la
cacharpalla" or farewell is included.
Organography: Aerophones: quenas (Indian flutes) Peruvian ocarina,
tonets, button accordeon.
Membranophones: Side drum caja and Indian drum.

Repertory. The repertory of the fraternity coincides in several of
its parts with that of las Cuyacas. Example No. 1.: "Los Negros" is
exactly the same carol as that called "Buenas Noches Manuelito" by
las Cuyacas; there occur only a few diferences in the texts.
Example No. 2.: "Las Cachuas", in a simplified version compared

to its co-genre in Las Cuyacas. Differences can be noted also in the text.
Let us see the differences between the two versions:
Cuyacas
Pastoras
Compass No. 1 according to beat Compass No. 1 according to beat
C, A C',
(third minor descending)
C'.
Studia Musicologica Academiae Scientiarum Hutgaricae 18, 1976
122 C. Mird-Gortez: The Nativity in Iquique

Cuyaca8
Pastoras
Third and fourth compass seventh

cadence of the dominant de paso
(F) up to third tonic (E) ending
Third and fourth compass repeti-
in C tonic.
of tonic (E) repeated.

Refrain (B), major simple, with-
tion of the dominant (G) and fiimness on the third of the accord
Refrain (B) in first semiphrase

ascending design in leaps of sixth
out variation as in the version of
tonic, which confers on it a sus-
las Cuyacas. Descending d6sign by
pensive and vivid character ending
thirds and fourths taking as its

axis the high tonic and ending
in the response of this phrase

using the same ascending intervals
(Sixth and Fourth) which lead to
high tonic (C'), but then resolves
in a descending design by joint
grades and leap of third down to
low tonic, giving it a clear conclusive character. (B')
with cadence on the dominant
with note alien to the accord (F)

- dominant of the dominant-
compass seventh - and, above E,

third of the tonic. To sum up, the
sections a and b have a great
similitude taking on more rhythmic
variation in B (Refrain).
Carol No. 3. "Huachitorito"
Similar to that of las Cuyacas, the text and music.

Carol No. 4. "Los Pastores"
The same melody as in the carol "La Bandera" of the Fraternity

of las Cuyacas. There are differences in the text.
Carol No. 5. "La Retirada"

Mode: C major
Range: Octave
This is a carol of a springhtly character. At intervals the joined
grades dominate; in the second compass a leap of sixth takes place which
confers relief and interest on the melodic design, and which in relation
to the text coincides with the action of the verb in the literary phrase.
Also produced in section B. (second compass) is a triadic suspensive

design on the tonic, which permits to stress the final cadence with the
name 'Manuelito'.

Text:
"Already born is the lovely flower

of the lily-white field
Manuelito" (bis)
"Now we are going to withdraw
after singing to you
Manuelito" (bis)
"most submissively
we ask thee
with humble devotion
Manuelito" (bis)
Benediction: (kneeling)
"To grant us thy grace
and thy holy blessing
Manuelito" (bis).
Metrics: Octosyllabic trochee.
Carol No. 6. " La Cacharpalla"

Form: AB and coda, Not strophic
Mode: C major
Range: Seventh
The Cacharpalla or farewell is a carol with a great variety of intervals, with leaps between the semiphrases occurring all the time. It shows
no nexus union with Hispanic or mestizo (high plateaux) co-genres; so

that in C major, and despite its repetitive final cadence, in the whole
melody there is no trajectorial polarization up to the tonic or dominant.
It is characterized by the disunion of the semiphrases; they are separated
by large or tense intervals, with the exception of No. 3 (compass 4-5).

It only has a small design by joint grades. Examples: sixth major (com-
passes 1-2); fourth augmented (compasses 2-3); third major (com-
passes 3-4); seventh major (compasses 4-5). In this type of repertory

the use of the tritone and of the seventh major can be considered as
amelodic with tense and infrequent intervals.
3 6
Metre
juxtaposed.*
4 8
Carol No: 7. "La Cacharpalla" (village of Tarapaca)
Form: AABBCD, strophic
Mode: H major
Range: Seventh
* The metre of the last two songs - Cacharpallas - is in 3/4 instead of
6/8 as was written for the transcriber.
Studia Musicologica Academiae Scientiarum Hungarica e 18, 1976
Great intervallic richness, thirds, augmented fourths, exact fifths

and joint grades, juxtaposed rhythms 3/4, 6/8.
Melodic trajectory in A and B converging up to sensible major
with climatic points of major tension in the compasses two and six in
this is produced the focus of major tension with the use of the tritone.
In section D, compass 14, takes place the previous procedure converging
up to climatic point through an intervallic leap, in this case sixth major,
which ranges from tonic up the VIth grade. The authentic cadence pre-
dominates and only incidentally is there a plagal design (compass 14).

Melodies difficult to harmonize due to their having melodic lines
full of passing and returning notes and appoggiaturas.
Text:
"Already thou art here my lovely child

I at thy feet do pray,
bearer of my sins
I come here to weep for them

"All over the world resounds
the flute of the northern shepherd

sins do surround him,
but Jesus and Mary are by his side (bis).

Metrics: Octosyllabic throchee-dactylic
Repertories of Pastoras or indiecitos

Las Cachuas.
Allegro
Tres na - tu-ra-les
Srk de Yo - ya a - ca nos tie-nes mi Ni - iio,
que ve- ni-moafes-te - jar - te con a- fec-to y con jui - bi - lo,
Estribillo
Ay si ay no al Ni- iio lo quie-ro yo.

La Retirada
Allegro
I
NA,
IM
Ya na- ci6 la flor her-mo - sa,
del campo blan-caa-zu-ce- na Ma - nueli - to.

Sltudia Musicologica Academiae Scientiarum Hungarica. 18, 1976
La Cacharpalla. (Iquique)
Moderato (Iquiqne)
Can - te - mos to - dos la des-pe-di - da, has-tael o-
tro a - fio si nos das vi - da, si nos das vi - da.
La Cacharpalla.
Moderato (Pueblo de Tarapac)

Ya lie - go mi Ni-fio her-mo - so yo a tus pies a re zar,_
que car-ga- dor de mis cul - pas_ a qui las ven-go a llo - rar..
Por to- doel mun - do re- sue - na la zam-po - fi - tao nor- ti - na,
bien ro - dea - da de sus cul - pas de Je - sds y de Ma - ri - a.
Cosmovision expressed in the Christmas Carols
of the Fraternities of las Cuyacas and Pastoras
To get an understanding of the causes of the permanency, the

existence and actuality of the religious, and therefore musicochoreographic, conduct of the Fraternities of las Cuyacas and Pastoras, in the
Feasts of the Nativity in Iquique, we must analyze the cosmovision of
these fraternities, the system of primitive values which constitute the
fundamental motivation of their existence. This analysis becomes all
the more necessary by reason of the sociocultural processes of contemporary society: technical development, urbanization and mass communication media have produced a permanent and quickening process of
secularization, a process from which the town of Iquique with a population of 64,300 inhabitants has not escaped.39
39Cunill, Pedro. Vision de Chile. Editorial Universitaria. 1972. p. 115.

For the study of this cosmovision we shall analyse the texts of the
carols of both fraternities, using as a point of reference the four dimen-
sions of the concept of ideology applied by sociologist Juan Van Kessel
in his article "Los cantuarios de La Tirana, Aiquina y Las Penas".40
These variables are: view of the world; view of human action, the perception of time, and the attitude in the search for well-being.
To do this, we have analysed the texts of all the carols of both

fraternities. In the case of the sorority of las Cuyacas they make up
a total of 54 strophes and 230 verses, and in that of las Pastoras 21
strophes and 76 verses: this makes a total of 75 strophes and 306 verses
respectively.
View of the world
a) Heteronomous or archaic ideology - Nature and its phenomena

are considered in a precritic manner. The world is organized according
to a metaphysical, unalterable, predetermined order established once
and for all since its origin.
In religious concepts the heteronomous ideology forms a harmonious
world, submissive to the divinity and therefore to the religious man.

The world assures him health, moral and material well-being, a life of
plenty.
b) Autonomous ideology - A world considered in a critical manner,

a world to be organized and built; a rebel world to be dominated and
governed by man, who uses it in an elective manner.
A workshop world: a place of hard creative work, hostile land, the
strength and genius of man bear fruit, a world which man uses for the
attainment of his well-being, favoured by the blessing or benevolence
of the divinity, would reveal in this case a heteronomous ideology on
the path of secularization with a tendency toward human autonomy.
In short, the harmonious world submited to the divinity is an
enchanted or divinized world which is not "material" in the modern
sense of the word.
The workshop world is a demythologized,41 demystified world, it

has become a material world at the disposal of man. He uses it in an
elective way, although he is orientated by ethics which are not demythologized.
40oVan Kessel, Juan. Los cantuarios de la Tirana, Ayquina y Las Pefias.
Revista Universidad Tecnica, 11-12. 1973. pp. 197-215.

41Van Kessel. Op. cit. p. 204.

With these variables we have analyzed the repertory of carols taking
as a unit of analysis the cancion, or song.
a) Fraternity of las Cuyacas - All the carols which make up the

cycle refer to the harmonious world;
b) Fraternity of las Pastoras - six carols out of a total of seven

mention the harmonious world.
Example No. 1 (Cuyacas)

no doubt the child born
deep in the drakness

with his light will shine upon us

"Arrurru my child,
arrurru without equal

eyes bright as a star
mouth of coral

"Lovely morning star
comes to us to announce
wise men from the East
are going to seek him

"Child Jesus, thou art like a sun
thine eyes have the sweetness of love"

"From the joyful manger
the pretty maid.
There is the little child
that the star announced

"Today was born
our universal king
this heavenly child
in a manger in Bethlehem"
Example No. 7 (Pastoras)

"Let us follow shepherds
the rays of the sun
which in Bethlehem illumine
the cradle of the Lord"

"At twelve at night
all the cocks cried
and in their cry they announced

that the child Jesus was born"

"A star from the East
guided the three wise men

and a morning star accompanied them
to the gates of Bethlehem"
Conclusions. The texts of the carols reveal a profound identity with
the harmonious world, cosmic harmony, benevolent and favourable

surroundings for the religious man submitted to the divinity. Los Pastores
are guided by the rays of the sun, by the stars, morning stars, the birth
of Jesus is announced by the cocks, etc. The harmony of nature forms

part of the divine celestial harmony and almost of the divinity itself:
examples 2, 3 and 8.
The human action. Heteronomous ideology, man occupies the place
determined in the cosmic order and in nature, of which he is only a sub-
ordinate element, and only a particular somebody of the human collectivity. The human action is perceived in a collectivist manner.
If in the liturgical field the cultural action of man is perceived in

a collectivist way, we can conclude that the texts of the songs take
inspiration in a heteronomous ideology. The code which permits to

distinguish this cultural action is the use of the plural which denotes
the collectivism of the cult.
Autonomous ideology. Man occupies a determining, central and

decisive role in the universal order of the world, which he confronts in
a critical manner and for which he feels himself responsible and the
organization and progressive construction of which are - for him duties of the human genius; here, however, the human individuality
in the capacity of creative personality, has outstripped the archaic
collectivism. The human action is perceived in a personalist way.42 The
use of the first person singular denotes the appearance of personalism
in the cult.
Results of the analysis

Fraternities Collectivism Personalism
Cuyacas 22 (we) nosotros 11 (I) yo

Pastoras 10 (we) nosotros 3 (I) yo
As can be seen the collectivist action has a clear predominance over

the personalist action; it is twice as much in las Cuyacas and Las Pastoras
over three times as much. It is demonstrated that the view of the world
of the Iquique fraternities is inspired by the heteronomous ideology.

We shall give some specimens by way of example:
No. 1 (Cuyacas)
no doubt the child born
deep in the darkness

with his light will shine upon us"
No. 2 (Pastoras)
"Let us go readily to adore
this Lord
albeit we are little shepherds

we are also sons of God"
42 Van Kessel. Op. cit. p. 206.

No. 3 (Cuyacas and Pastoras)

"Three men from Yoya
here we are my child
who come to f~te thee
with affection and joy"
The perception of time
Heteronomous ideology - perception of cyclic time, the consequence
of a view of the world characterized by a general, pre-established and

unalterable order.
Autonomous ideology. - Perception of historic time, view of the

cosmos as a material world not finished, a vision of man as the "creative
personality and organising personality of the material world".43
In order to distinguish these types of perception of the world in

the carols, it will be necessary to note those passages which give a concrete
indication, be it of a precise event, or of a definite period of time. When
this is reproducible as the climatological periods, the biocosmic periods,

or the calendar periods, we consider it cyclic; when it is single we consider it historical. We shall proceed likewise with the events, they can
be single or can occur periodically."
Only in three carols, one from the fraternity of las Cuyacas and two
from las Pastoras, do we find a reference to the perception of time.
In the first case the reference is to a single event: the birth of Jesus.

"At twelve o'clock at night
all the cocks cried
and in their cry they announced

that the child Jesus was born"
"On the 25th of December

was born our beloved Lord
from the pure Virgin Mary

at the Gate of Bethlehem"
The second refers to a reproducible, cyclical period of time.

4a Mircea, Eliade. El mito del eterno retorno: Arquetipos y Repeticion. Buenos
Aires--Barcelona, 2nd edition, 1968.
" We do not consider here the theological concepts of Historia de la Economia

de Salud in its relationship with soteriology, eschatology or theophany due to the
fact that the texts of the carols have a simple religious definition.
" Mircea Eliade. Op. cit. p. 212.
Studia Muticologica Academiae Scientiarum Hungaricae 18, 1976

"My redeemer Jesus Christ
give us thy blessing
so that we may all return
with
more faith and devotion"

"Let us all sing
the farewell
until the coming year

if Thou givest us life"
A short goodbye, a short goodbye
beloved child, until the coming year
if Thou givest us life".
The sparse references to time denote that for these fraternities the
reiteration of the question of the single event (the birth) is not fundamental, nor is the annual cyclical reiteration. However the use of this
reiteration in the Cachapalla or farewell (Pastores), a carol which closes
with the ritual cycle, acquires special relevance conferring primacy, in
the qualitative sense, upon the cyclical allusion over the "single" allusion,
at the level of an event. From this qualitative point of view the heterenomous character of the perception of time transcends the autonomous
quality of the "single" allusion.

The attitude in the search for well-being. - The concept of well-being
takes in the totality of the human necessities; it varies according to the
cultural medium and its respective system of values. Conceptually the
search for well-being fits into an economic framework.
Modern western society has developed specific institutions aimed
at satisfying the complex range of human necessities which are considered as "well-being" (market, church, school).
This, in spite of the fact that in "anthropology we can find a concept of pluridimensional and not very specific well-being and consequently of a very different type from the global and not rational economy" .4
Parallel to the existence of a scientific economy for the satisfaction
of material necessities, the Christian theology has developed a discipline
9* Studia Musicologieca Academiae Scientiarum Hungaricae 18, 1976
of the "Economy of Salvation" which deals with supernatural goods

(grace, rendition, salvation, justification, eternal life, etc.), their realization and distribution.
The archaic man does not recognize such specificity of his necessities
and of the institutionalized possibilities which well-being can grant to
him. The production and distribution of well-being - material and

moral - are assured for him within a type of universal and not rational
economy organized from its beginnings, and directed and supported by
the divinity, which is its centre of gravity.46
In this type of economy - global - the producer is finally the

divinity (or nature), the role of man for the realization of his well-being
will always be in communion with the supernatural forces to which he

incorporates himself and submits himself. The hierarchic difference
established between the primary role of the supernatural forces of the
divinity and the subordinated activity of man permit of classifying this
economy under the heteronomous type.
The texts of the carols reveal the importance accorded to terrestrial
life favoured by the divinity.
The word "salvation" is the one which best expresses the concept
of human well-being extolled in the texts which we are analysing. We can
sum it up as "global and absolute human well-being" subordinated to

the cultural values of the group from which he emerges. As divine Bene-
volence (Grace-benediction) is in a completely autonomous way that

which constitutes the salvation of the human being.
Divine autonomy presents itself as opposed to the human nonautonomy in this respect.
The attitude of the Iquique fraternities in the search for salvation
is expressed in a receptive form by means of the oration sung and danced
by the beseechers through the ritual celebration, which, in some way,
implies physical sacrifices. The following texts enable us to ascertain
what has been stated:

"Accept my child
that to receive from thee
thoy holy blessing

is what we hope for"
46 Mircea, Eliade. Op. cit. p. 202.

"Grant us child
our blessing
so that we may obtain

from thee forgiveness"

"We pray thee child
with all good heart
that thou givest us thy graces
and thy blessing"
Example No. 4. (Cuyacas)

My redeemer Jesus Christ
grant us thy blessing
so that we may return
with more faith and devotion"

"Already we are going to withdraw
after singing to thee
Manuelito,
asking thee to grant us thy grace
and thy holy blessing
Manuelito".
These texts reveal that there is no active attitude of striving to

achieve Salvation through a moral conduct according to the Decalogue
or Law of God.
The gaining of Salvation in the members of these fraternities com-
prises the idea of a contract: in exchange for physical efforts salvation

is achieved. See example No. 5.
We can conclude that the attitude in the search for well-being present
in the texts of the carols of Las Cuyacas and Las Pastoras reflects a
clearly archaic, heteronomous ideology.

Geographic area
The town of Iquique is situated at the seaside and is flanked by

desert hills which surround it from the north, the east and the south.
Their altitudes range from five hundred to eight hundred metres. It has
a coastal desert climate47 and the mean annual temperature is 18.3

degrees centigrade.
The province of Tarapaca is situated in the so-called desert zone;
its area is 55 thousand two hundred and eighty-seven square kilometres,
bordered on the north by Peru, in the east by Bolivia, in the west by
the Pacific Ocean, and in the south by the province of Antofagasta.
In this zone are clearly distinguished the three belts which characterize
the Chilean relief: a) the coastal Cordillera (mountain range), b) the
central plain, c) the Cordillera of the Andes.
a) The coastal Cordillera has an altitude ranging between 1000
and 2500 metres. It is a little higher than the central plain and drops
steeply down to the sea, leaving but few places in which to build towns.
b) The central plain is made up of the pampas of the Tamarugal
and the desert of Atacama; it has an approximate height of 1000 metres
in the north and somewhat over 2000 metres in the south. Both table-
lands are separated by the river Loa and are cut across by gullies or
ravines in some of which flow rivers of small volume. These ravines also
cleave the coastal mountains. They are covered by a rubble of hard

arista which makes the territory difficult for men and animals to negotiate.
c) The Cordillera of the Andes is characterized in this zone by the

large number of volcanoes and by its great width, extending as far as
the commencement of the Bolivian high plateaux. Several of the peaks
are over six thousand metres high, ranging between 5540 and 6723
metres in height.
The climate varies in these belts which are coastal desert, with
scarce rainfall and a mean temperature of 18 degrees centigrade at the

coast where there is a great deal of fog and there is little difference
between the day and night temperatures. The winter clouds sometimes
blot out the sun for several months. Statistically Iquique has the largest
number of cloudy days in the year, yet it hardly ever rains.
In the interior plateaux the climate is desertlike with great differ-
ences of temperature between day and night. It is characterized by the

dryness of the air, the variability of the temperature and the almost
total lack of rain.
a Cunill. Pedro. Op. cit. p. 41.

Studi a Musicologica Academiae Scientiarum Hungaricae 18, 1976
In the Andean high plains there are two types of climate in relation
to the altitude. Above 2500 metres the climate is fresh and continental,
with some rain in summer, but which is not sufficiently great to sweep
the desert. In the high plain region these rains permit the formation of
a high-steppe climate. Precipitations are abundant and in summer the

temperatures are low, especially at night, dropping to several degress
below freezing. The winters are very cold.
The unfavourable temperature conditions and lack of rain give the

desert its desolate appearance. There are vast regions where one does
not come across man, animal or vegetable.
The tamarugo, a bush which gave its name to the pampas of the
Tamarugal, is nearly extinct due to irrational use.
In the Andean high plains some plants grow due to the summer
rains and the snowfall in winter.
In the highest parts we find the "yareta", a wooly plant which

serves as fuel and is used in the exploitation of sulphur. The coiron,
a tough grass or thatch palm, is another species which is used as fodder
for animals; down in the valleys are found the turberas (peat-moss) on
which the alpacas and llamas feed.
Among the most typical birds of the zone we find the "jote" (kind
of vulture), the gallinazo, the ostrich, and the condor; among the mam-
mals the chinchilla, the vizcacha (a rodent), the vicufia, the guanaco,
the llama, the alpaca, and the puma:
Ethnic composition of the zone
We shall outline the geographical area of the province of Tarapaca

and its respective ethnic compenents, and without claiming to be exhaustive, shall give a framework of reference which will serve as a basis for
a better understanding of the phenomenon of the fraternities and their
cultural action.
Archaeological investigations have demonstrated that in the Andean

zone and the high plateaux of the province of Tarapaca organized forms
of human life go back ten thousand years before Christ, i.e. hunting and
harvesting, with agricultural work, pottery and shepherding developing
later on. Researches conducted in the province affirm the existence of

a basically homogeneous culture named Atacamefia, which had a lan-
guage of its own - Kunza - and whose territorial range took in the
north of Chile, the south of Peri, northwest Argentina, acquiring its
greatest density in the provinces of Antofagasta (Chile) and Jujuy and

Salta (Argentina) respectively.48
Gradually it received allochthnous influences, among others, from
the culture of the Tiahuanacu, from the Argentinian north-east, from
the south of Peru, and lastly, from the Incas. But in spite of these
influences, whether originating from intermingling of the populations
and/or the fruit of territorial conquest, the characteristics proper to
these civilizations subsisted in essence, and the civilizations themselves
lasted until the Spanish Conquest. The Andean localities of Tarapaca
were transit centres to the important nuclei of the high plateaux of
Titicaca Desaguadero. The influence of the diverse communities of the
high plain culture of the present Bolivian region can be noted from the
graves in "Chulpas", and the remains of villages denote some characteristics developed by the above-mentioned communities named Aymaraes49 groups.
The Collas of the Aymara group, who were subjected by the Incas,
occupied the Andean slopes and valleys up to the savannah of the Tamarugal extending along the coast as far as the Peruvian region of Arequipa; this invasion took place in more recent historic times (1215-1450)
according to some historians.50
In the coastal areas the Changos survived until the 19th Century.
The excavations show that "Quiani" was occupied more than six thousand
years ago. The site of "Cananoxa" crushed by the Camarones, was

inhabited around three thousand years by hunters and gatherers who
drew also upon the resources of the sea.51
We believe that the Aymara and the Quechua influence, the first
higher than the second, was sufficiently strong to bequeath a viable
language and a musical and choreo graphical repertory to the Andean
communities of the province of Tarapaca, which we checked in investiga48 Steward, Julien and Louis C. Feron. 1959. Native peoples of South America.
New York.
49 Canepa Gina and Mir6 Ivan. Introducci6n al Carnaval de Putre. Universidad

de Chile. 1969. 70 pp. Unpublished.
60 Pereira Salas, Eugenio. El desenvolvimiento hist6rico-dtnico de la poblaci6n
de Chile. In Geografia Economica de Chile. Tome II. 1950. pp 82.
51 Cunill, Pedro. Op. cit. p. 76.

52 In 1967, the author of the present work, presented a research project of
the Andean communities of Tarapaca to the Department of Social Action and
Development of the University of Chile. As a result of the foregoing, in 1968 and

1969 field work was carried out in the Department of Arica, Province of Tarapaca,
where we could ascertain the existence of native and mestizo repertories of the
Aymara area.
56 Petersen, Norma. Op. cit. pp. 78- 82.
" Pereira Salas, Eugenio. Op. cit. p. 102.
tions conducted in this area in 1969,52 and in the work elaborated by the
musicologists Gina Canepa and Ivan Miro "Introduccion al Carnaval de

Putre" in the same year. Previously Norma Petersen had also shown
the survival of Aymaraes repertories (musical text and dance) in the
department of Iquique through the fertility rites of the ceremony of
the "Floreo de los Llamos".53
The provinces of Tarapaca and Antofagasta, which were merged in

1883, underwent ethnical changes after the War of the Pacific; the
great development of the saltpetre and copper industries brought with
it a cross-breeding between the Aymaraes and Quechas, assimilated, by
dint of the arrival of large contingents of workers from the central
zone of the country to the average ethnic type of Chile.
In the strictly native strata the Atacamefios were absorbed by the

Aymaraes and Quechuas of the Peruvian and Bolivian region.54
As a result the cross-breeding occurred, particularly, in the coastal
and central pampas-plateau of the Tamarugal and the desert of Atacama - with native settlements of Aymaraes and Quechuas living in
the interior valleys, the pre-Cordillera and the high plateaux, and
Quechuas (Tarapaca) and Atacamefios in Antofagasta. We must point
out that this division has no definite character, but is a confirmation of
the polarization which took place with the passing of time, without
prejudice to the cultural hybridization, the product of the interchange
of diverse types which occurred during centuries.
Finally, the native imprint is clearly perceptible in all the human

types of the Norte Grande and in their musical manifestations, which
appear in the repertories of carols of the fraternities of Iquique and of
the hamlet zones.
Musical examples of Aymaraes repertories of the Andean Communities. Iquique Department.

Aymnaraes repertories of the rite ,,Floreo de los Ilamos."
Cordillera Zone.
,Guaino"
tL
Ja - lam, ja - lam guai - nu-lla ro- me - ro, ro-
me- ro a - can - jal - da - fia guai- nu-Ila
ro - m) - ro, ro - me - ro.

Arco"
A- ka-cha-ka - chai por - ta - nai A-ka- dcha-ka- chai ar - co
JJ P J1 k" I
mai Jmnan atr-co mai ar - co - vai.
. Chullumbe"
Ca - u-quie tu- i -ta-yan- tan ta
i- Ila-o chullum- be, chullum-be ju- man ko - tall -
ma ja i - na ju- re ta-maj sa co - ta - ya
i - la- o chullum - be, chullum-be.
,,Tatascora"
De-lan - te- roi, ta - tas -co- rai, ta - ta - lai,
Sen-so - ro- soi, ta - tas-co-rai, ta- ta - lai,
.,.
..
Ta - ta -.lai, de- lan - to - roi, ta - ta - lai,
,b t I I. I
Q
I I- UI I Wf ;W ":
ta - ta - lai, . de-lan - te-roi, ta - tas-co-rai,
P.
Ta - ta - lai, sen- so-ro- soi, ta - ta- lai,
Ta - ta- lai, ta - tas-co-rai, tVa - ta - lai.

Geo-economy of the zone
Iquique, a port town handling large quantities of saltpetre owes its

existence to the rich silver mines at Huantajalla exploited during the
colonial period. Its present population is 64,300.55 The zone has seen
periods of rise and decline according to the surge or slump in the extraction of its natural resources: silver, saltpetre, fish, which led to a constant
migration of its inhabitants. The exploitation of saltpetre in the desert
is the thing which best marked the prosperity or decline of the town of
Iquique and the surrounding region, a phenomenon which had a direct

influence for the flourishing and/or disappearance of the fraternities of
dancers in the zone.
The saltpetre began to be exploited by Chilean and Peruvian

industrialists in the first decades of the 19th century in the provinces
of Tarapaca and Antofagasta which belonged to Peru and Bolivia respectively. The exploitation was carried on on a small scale, then grew
annually due to the demand for it on European markets. The new laws
and taxes relating to the production of saltpetre brought in by the
governments of Peru and Bolivia in 1879 affected Chilean interests
particularly. Bolivia later handed over her deposits to the highest bidder,
thus starting the hostilities which gave rise to the war of the Pacific,
which could well be called 'the saltpetre war", a conflict which lasted
until 1884 and brought the provinces of Tarapaca and Antofagasta into
the territory of Chile. With the aid of the Chilean government there was
a great upswing of the saltpetre industry. Much national and foreign
capital, especially English, was poured into saltpetre exploitations.

Within a short time the control of the industry was in British hands.
The desert became full of "oficinas salitreras" (saltpetre works); isolated
regions lacking all facilities necessary for human life turned into bustling
conglomerations, mining and industrial settlements.
The saltpetre towns of Tarapaca and Antofagasta numbered around

120 thousand persons; up to 1907 there were 166 oficinas salitreras,
several of them with populations of over 2000 persons. This brought
with it the progress of the port towns, including Iquique.
For a long time saltpetre accounted for 52 per cent of the receipts
of the fiscal office.
Nevertheless, the life of the workers did not improve; the optimum
conditions for foreign investors and top-ranking officials of the companies
55 Cunill, Pedro, Op. cit. p. 115.
contrasted sharply with the deplorable conditions of life of the miners;

appalling pigsty houses without the minimum hygienic conditions, poor
quality food, a working day of 12 hours and more, etc.56
Due to these conditions of existence, the northern pampas was the
scene of great social movements which have characterized the development of the workers' movement in the present century in Chile.
Between 1927 and 1930 came the great saltpetre crisis, with the
use since the end of World War I of synthetic saltpetre, which had
been invented by a German.57 Between 1962 and 1964 there was
a great upswing of the fishmeal industry. All these economic stages
brought with them a constant ebb and flow of immigrants from the
southern zone and North Chico as well as from Bolivia and Peru.58
In the past years the state has made efforts to avoid the total
collapse of the saltpetre industry. In 1968 the state formed a partnership
with Anglo-Lautaro, a company with huge North American capital,

but after three financial transactions the situation got worse, causing
a total drop in production, and the industry could only keep going with
government support. In 1971, the state nationalized the nitrate industry
assuring work for 12,000 workers who maintained around 60,000 persons.
Tarapaca carried on its function as a saltpetre centre, and also Victoria

giving work to 1330 workers who together with their families formed a
population of 5400 persons.59
The country has a series of plans for the increase of the saltpetre
community as well as the expansion of international markets and the
industrial development of by-products like sulphurs and silicates.
Socio-economic aspects of the members of the fraternities
We felt it necessary, to be consistent with our objectives - the

music in its context - to make known the socio-cultural variables which
up the human milieu of the fraternities of the Norte Grande.

It is necessary to take into account that usually the survival existence
of musico-choreographic manifestations with folklore characters takes

place rather in peasant or proto-urban groups giving shape to what
Arnold Hauser,6o described as "art of the people". Therefore, we have
to ask ourselves what the causes are of this survival in an urban milieu
and in the face of an urban mass public, which generally uses the said
popular art. To answer these questions we have examined the geographic
area, its ethnic components and the geo-economy of the zone. Now we
shall take a look at the socio-cultural aspect.

This socio-cultural study was carried out by the sociologist Juan
Van Kessel,61 who took the education variable as a means for "observ-
ing the level of modern culture and participation in modern urban life
in its principal dimensions: the socio-economic, the socio-political and
the socio-cultural". 2 In its turn, this variable, in this case the lack of
education, can point to primitivism, ignorance, lack of culture, civilization and marginality.63 The method will be therefore: the education
variable and its distribution among the population of dancers and thereafter its comparison with the levels of education of Chileans in general.
The author made the inquiry by putting questions to 1265 members
of the 146 brotherhoods or societies of religious dancers which makes up
12.5 per cent of each of the fraternities. This inquiry was made in 1969
and 1970 inclusively.

Data for 1969 809 subjects questioned.
"Outstanding in this summary is the high average of education
received in the group, i.e., 7.28 years. 49.80 of them had received only
primary education, which under the old school system64 amounted to six
years; and in their majority the group completed the full course of six
years, as is suggested by their average of 5.32 years of education received.
50.2% of the group had more than just primary education. Of them, a
56 Cobo, Julian. Yo vi nacer y morir los pueblos salitreros. (I saw the salpetre
villages coming to life and dying). Editorial Quimantu. 1971. Santiago. 94 pp.
57 Kaplan, Oscar. Geografia de Chile. Instituto Geografico Militar. 1948.
pp. 357. Here the author points out that in the period 1930-40 the fall in population was 8.2%.
58 Croco Ferrari, Juan. The author points out that "In October, 1932, when
the cyclical and structural unemployment was at its maximum, 28 thousand,
seven hundred and eighty-eight unemployed were on the registers of the official
Employment Exchanges of the Norte Grande ... A large part of these unemployed
workers moved together with their families to the Norte Chico and the centre of
the country". In Geografia Economica de Chile. Santiago. 1950. II. p. 112.

59Cunill, Pedro. Op. cit. pp. 192-194.
60 Hausser, Arnold. In Historia Social de la Literatura y del Arte. Ediciones

Guadarrama. Madrid. Two volumes, 1962.
61 Van Kessel. Los bailes religiosos del Norte Grande : Atavismo cultural y feno-
meno de desarrollo. Revista de la Universidad Tecnica del Estado. 13-14. 1973,
pp. 167-185.
62 It should be noted that the fraternities in Tarapaca have urban and rural
activities, Iquique being the main urban centre and the Santuario de la Tirana,
with its rural location and small population, being the main sanctuary of the Norte
Grande.
63Van Kessel. Op. cit. p. 170.
64 Until 1966, the educational system in Chile comprised 6 years of compulsory
primary schooling and 6 years of secondary schooling, divided into two areas:
scientific-humanist and vocational. From that same year the basic general education
lasting 8 years was introduced and the secondary education in two areas - scientific-humanist and technical-professional - was for a period of 4 years.
minority (16.1%) had a technical or vocational education with an average

of 3.25 years, a majority (34.1%) had an intermediate or higher education
with an average of 3.20 years.
An analysis of the results according to the different geo-economic

regions of the provinces of the Norte Grande - Tarapaca and Antofagasta - reveals that the dancers of the copper zone have higher levels
of schooling (9.02 years); those of the saltpetre zones and of the maritime
ports reach a lower average of school education (6.70 and 6.50 years
respectively). The variable according to sexes shows 1265 sujects.
Data 1970.
1. More than 35% of those questioned had received six years of

primary education.
2. Drop-outs from school, women: 23.8% quit primary school before
completion of the whole period. Men: 14.2%.

3. Further education after primary school: women: 40.8%, Men:
50.5%.
4. Illiteracy practically non-existent. Those who received less than
two years of education are considered as illiterate. Women: 1%,

men: 1.5%.
5. Higher or university education: Women: 0.6%, men 1.5%. These

results can be measured in their historic perspective, if we analyse the
official data for public education in Chile issued by the Directorate of
Statistics and Census in 1960 and if we accept as adequate the instruments used in obtaining the results of the 1970 inquiry into the size of
the population of the northern fraternities. This gives us a picture
comprising "the dancers of 1960" and we can thus observe the changes
that took place in the space of a decade.
Rate of growth of schooling of the population of dancers

between 1960-1970 according to sex
Drop-outs from primary school

1960 1970 Rate
of decrease
Men basis 100 -17% 14.2% 16.5%

Women basis 100 32.2% 23.8% 26.1%
Difference -15.2%/o -9.6/o

Access to further education
1960 1970 Rate

of increase
Men basis 100 46.4% 50.5% 8.8%

Women basis 100 30.5% 40.8% 33.8%
Difference +15.9% + 9.7%
We can add to these figures that illiteracy and university levels of

education are practically nonexistent in these fraternities. The tables
show clearly the decrease in the number of school drop-outs, especially
among the women, 26.1%, and the access to further education in which
the highest increase is also among the women with 33.8%.
Level of education of the dancers compared with that
of the Chilean population in general. 1960
a) Chileans who did not complete primary school: 55.8%

Male dancers did not complete primary school: 17.0%
Female dancers did not complete primary school: 32.2%
b) Chilean men with over ten years schooling: 9.2%
Chilean women with over ten years schooling : 6.7%
Male dancers with over ten years schooling: 8.0%
Female dancers with over ten years schooling: 3.5%
c) University level. At the level of 12 years of education the difference

between Chileans in general and the dancers is greater.
Chilean women with a university education: 1.5% as against 3%
of women dancers.
Chilean men with a university education: 2.5% as against 0.6%
of male dancers.
The level of education received by the Chilean population in general

is lower than that of the population of the fraternities. A calculation of
these averages in 1970 reveals for Chileans in general 4.90 years and for
the dancers 6.76 years of schooling.
Relationship between the levels of general education of the Chilean people
in 1970 and the level of education of the dancers in the same year
a) Chileans who did not complete primary education represented

45.5%; this is 10% less than in 1960, which points to a major advance.
b) In the same period the percentage of dancers in the population
dropped from approximately 23% to 18%. Considered by sexes the

reductions in per cent are: women dancers: from 32.2% in 1960 to 23.8%
in 1970. Male dancers: from 17.0% in 1960 to 14.2% in 1970.

c) In 1970, 12.5% of Chileans received more than ten years of
education (in 1960 this ratio was 8.4%). Dancers with more than ten
years of education represented in 1970 8.6% of the total population of
dancers (in 1960 this ratio was 6.3%). It is obvious that the average for
Chileans progresses more radpily in those higher levels of education;
the average for the population of the fraternities progresses too, but at
a somewhat slower rate.
In 1970, the average period of education received by the Chilean

population was 6 years. In 1960, it was 4.98 years, which meant a signifi-
cant advance of 1,11 years. For the population of the fraternities the
average schooling in 1970 was 7.28 years, and in 1960, 6.67 years, showing
an advance of 0.52 years. The educational level of the fraternities continues to be higher than that of the general population in Chile, but it is
clear that the latter's level has progressed more quickly than that of
the northern dancers.
The homogeneous way the education is distributed in each of the

populations shows that among the dancers this is more even, and among
Chileans in general there is a downward tendency.
As the members of the fraternities make up a given working popula-
tion in a given region of the country, they represent a larger scale of

equidistribution than the Chilean population in general. Thus, considering the high average of education received, and, fundamentally, in view
of the homogeneity of the distribution, it is impossible to assert that

the dancers are ignorant people, without education or culture, which is
often suggested by public opionion in Chile, as reflected even in press
articles (El Mercurio of Santiago, 4th April, 1969. Osvaldo Pacheco).
Other levels of integration of the fraternities in the surrounding society
The economic activity of the fraternities, in their absolute majority,

(60.8%) takes place in large or medium-sized enterprises in the zone,
industrial sectors, mining, saltpetre and copper, or in the fishing industry
(on a much smaller scale), and as civil servants and members of the
armed forces. This means that they have up-to-date economic conditions and social labour relations. Practically all of them, with the
exception of 2 per cent who work at sites in the desert, pay their way
Studia Musicologica Academiae Scientiarum Htungaricae 18, 1976
in an urban environment and for two or more generations they have not
known the precapitalist relations under which lived many families of

their ancestors who came from rural areas.
In regard to the socio-political level, the variables will be participation in branch organizations and in electoral activity in view of the long
civic tradition which the country has had for over a century and a half.
69.5% of the men over 18 years of age belonged to a trade union;

at a time when for the whole of Chile the trade union members accounted
for 19.2% of the economically active population.

26.7% of the dancers were affiliated to a cooperative - consumers'
or house building - whilst at the national level 14.8% of Chileans over
18 years of age were members of cooperatives.
28.6% of the adult dancers belonged to some neighbouring junta
(committee or council), whereas only 8% of Chileans were affiliated to a
junta in 1969.
As to the women's section 25.0% of the adult women belonged to a

mothers' centre, as against 10.1% of adult Chileans in 1969.
With respect to the political level in 1964 55% of Chileans availed
themselves of the right to vote. In the Great North this ratio was as
high as 62.2%. However, among the dancers a ratio of 71.2% was reached
(one of the highest in the country), which highlights their level of com-
mitment, involvement and interest in the destiny and running of the

country.
All these data confirm the high socio-economic level and sociopolitical level, which was demonstrated at the socio-cultural level by
the high levels of education of the dancers. The northern fraternities
are not a marginal or backward group, but on the contrary "it is a ques-
tion of a popular and working population which is highly integrated

into the surrounding society at the three levels indicated".65
Conclusions
1. The Christmas Carols of the Fraternities of Las Cuyacas, Pastoras

and Indiecitos, are an integral part of the socio-cultural complex of the
Fraternities of Dancers of the Norte Grande of Chile, and form part
of the Ritual Dances connected with religious ceremonies which are in
full vigour in this area.
65Van Kessel, Op1). cit. p. 182.
Stylistically syncretic and classified as "de pasos" by the northern

caporales (group leaders), there coexist in this repertory songs of Spanish
origin (examples 12-13-15-18 cuyacas, and pastoras 22) and hispanicindigenous songs anddances (examples 16-17 and 19 cuyacas, and 21-23-24
pastoras).
2. The predominant musical form is the strophic binary, AABB,
(8 examples), however there is a great variety of forms, making up ter-
nary and quaternary strophic structures:AABACC; AABBCBB; AAB BB.

This variety of forms differentiates it from the carol of the central
zone of the country which has rather binary and ternary structures like
AB; AA BC; ABA ABA.
The estribillo or refrain is presented in two forms: A) at the end of
the song occupying a small section (examples 12-15-16) or using the

whole of the song as an estribillo a refrain, (examples 13-16-18-19 etc.).
This aspect characterizes and differentiaties the estribillo (refrain)
from that in use in the rest of the country.
3. The structure of the texts forms strophes of four octosyllabic or
hexasyllabic verses of asonant rhyme, there being only one pentasyllabic
example. This corroborates the hispanic origin of this genre. At the end
of each couplet or strophe is added the estribillo or refrain. The metric
feet used are preferably trochee, amphibrach and dactylic in decreasing
order, but there is however a series of irregular and mixed strophes.

As a result of the simplicity of the popular poetry which does not seek
formal connections, there is more room for spontaneity, i.e. for freedom
of form.
4. The text-music relationship is not always coincidental.
Example, No. 19:

verse: trochee, binary metric foot
music: trochee ternary metric foot.
Example Carol No. 15:

verse: amphibrach metric foot
music: trochee binary metric foot
The text-music relationship is predominantly syllabic, there being little

pneumatic sections.

5. The predominant ranges in decreasing order are: ninth, eighth
and seventh; with less frequency we find: sixth, eleventh and twelvth,
revealing a greater ambit than that which is frequent in the tonadasvillancicos (tunes-carols) of the Central and Southern Zone of the country;
this offers better possibilities for vocal movement.
6. The predominance of the Andean binary metric is observable in

the greater number of bipodic binary structures (nine cases); following
it in importance is the use of the monopodic-ternary structures (four
cases) and mixed structures (two cases). This aspect marks a clear differentiation from the Chilean carol from the centre of the country,-where
bipodic-ternary structures (6/8), with frequent juxtapositions with of

2/4 and or 3/4 predominate. The Andean repertory of the province of
Tarapaca has a clear binary metric predominance which is projected in
the music of the carols of the coastal town of Iquique. Examples: 29-30.
Examples of Andean binary metric.

,El Peral"
Lento Tarapacd Village, Yquique.
Ya- va a-ma - ne - cien- do Ay pe - ral pe - ral,
Ya van en-tre - gan-do por la li - ber - tad.

Petersen, Norma. pag. 95
,, Cu culi "
Moderato Villages: Pica, Sibaya y Huavina.
io J rt l i i
Ma- fia - nra por la ma - fia - na, Cu - cu - ii
ma- dru - ga - do - ra, ~Se em-bar - ca la vi - da
mi- a, en- can- to de mi per- so - na.

10* Studia Musicologica Academiae Scientiarum Hungaricae 18, 1976
The rhythmic patterns are short and adapted to each verse of the strophe;
the structure is simple and functional.
7. The melodies are constructed fundamentally in the Major mood,

there being only one case of Minor mood, and this discards the presump-
tion of some66 and the assertion of other musicologists that the carols
of the Norte Grande and of the entire folkloric music of that area are
predominatingly in Minor Mood.67

The greater use of the Major mood allows us to infer that from the
melodic point of view there is a preminence of the European diatonism,
a factor which, in this aspect, unites the northern carol with its co-genre
of the centre and the south. The minor pentaphone in current use in the
Cordillera and the high plateaux did not penetrate the urban repertories
of Las Cuyacas and Pastoras in Iquique. Musical example 31.
Example of Andean Pentaphonism.
Amapolita"
Sibaya Village, Iquique.
Tu co-ra-z6n co-moel mi - o Ay A - ma - po -
ii - ta, Me has hecho te- ner pa - cien - cia Ay pa-ra qu6
me cau-ti-vas - te trai - do - ra te-niendo due - fio.

66 Grebe, Maria Ester. Introduccidnm al Estudio del Villancico en Latinoamerica.
(Introduction to the Study of the Carols in Latin America). Revista Musical
chilena, XXIII, 107, 1969, page 27, note No. 57.

67 Urrutia Blondel, Jorge. Algunos aspectos de la musica ritual de la Tirana.
(Some aspects of the ritual music of La Tirana). Mimeographed text of the lecture
delivered during the Week of Chilean Musical Folklore on 14th December, 1962,
at the School of Law, University of Chile, Santiago. In Uribe Echeverria. Fiesta
de la Tirana de Tarapaca, Ediciones Universitarias de Valparaiso, page 88.
68 Grebe, Maria Ester. Instrumentos musicales pre-colombinos de Chile, Revista

Musical Chilena. XXVIII, 128, 1974, page 28.
69 Grebe, Maria Ester. Op. cit. page 25.
70 Gre be, Maria Ester. Op. cit. page 26.
Stu dia Musicologica Academiae Scientiarum Hungaricae 18, 1976
8. The organography of Las Cuyacas and Pastoras, although hybrid,

has a clear predominance of the native instrumentation. The aerophones
and membranophones reveal the still active presence of the pre-Columbian past. The use of zampofias, quenas and ocarinas is clear proof of
the foregoing statement. The presence of the flauta painica (zampofia)
in Tarapaca dates back to the year 1000 AD.
The membranophones (native drum and drum) "have performed
important ceremonial functions, outstanding among them being the shamanic activities".6s "The tambor de marco de parche doble (two-sided frame
drum) presents itself as the only Chilean pre-Columbian membranophone. Further, it constitutes one of the most characteristic musical
instruments of the pre-hispanic Andean cultures."69 Other membranophones of the province of Tarapaca date approximately from the years
1000 and 1350 AD.70
9. From the harmonic point of view, although harmonic in struments are not used (with the exception of the button accordeon) the
melodic supports and cadential reveal a constant use of the subdominant, producing the plagal cadences: I-IV-I; and complete: I-IV-V-I,
Also appearing frequently is the authentic cadence I-V-I.
10. The predominant tempo is the moderato, which removes it
from the sprightly character of the carol of the central zone. The most
outstanding light-spirited carols of the northern repertory are the native
dances "Las Cachuas" and "El Huachitorito" which are in full vigour
in the Andean area. Their permanency in Iquique demonstrates the
resistance to the process of aculturization resulting from the constant
migrations from the central and southern zone. The predominant tempo
in the carols of Iquique, could be reminiscent of the Indian yaravi
(tune), a kind of love song with accentuated lyricism and tempo moderato.
11. There are no duplications in the third lower parallel, the song
is unisonant. An aspect which distinguishes it from the carol of the
centre south, where it is usual to sing in two voices, building up a simple
polyphony in the third parallel.
12. The term to define the Child Jesus "Manuelito" is almost not used
in other zones of the country, it is proper to the Norte Grande and the
borderning countries: Peru, Bolivia and North Argentina. This indicates
an affective connotation which permits of a more direct and closer
treatment with the Divinity.
13. We can state categorically that the carols of the fraternities
studied in this work and those of the Norte Grande in general, do not
belong to the tonada family, but rather constitute a hybrid repertory

with unique characteristics in which is manifested a cognation of two
cultures - the Hispanic, in that it possesses stylistically the characteristics of the European song-book of ancient times71 and in that dancing and theatrical performances are made which stem from the Iberian
medieval tradition like the religious plays,72 which occur in the diverse
religious festivities of the zone, and in the participation of Las Cuyacas
and Pastoras in other types of presentations like "La Pasi6n del Sefior",
and "Los Diez Mandamientos"73 (The Ten Commandments) in La Tirana;
- the Indian link which is present fundamentally via the dances "Las
Cachuas"'74 and "El Huachitorito"75 and "La Cacharpalla", the Andean
organography and Andean binary metric.
14. Finally, and by way of hypothesis, we can affirm - coinciding

with Juan van Kassel's opinion - that the Nativity in the Norte Grande,
in the context of the fraternities, symbolizes, together with the body
of religious feasts of the zone, the permanency of archaic and heteronomous values making up a religious cultural heritage which enables
the promoters to form a social and religious group through which they
can face together the difficult process of social and revolutionary change
surrounding them. And from these ritual feasts they obtain the moral
energy enabling them to endure the crises operating over the system
of the personality as a consequence of the impact of modernization
and its resultant change of values.
71 See Aretz, Isabel M6sica Tradicional Argentina. Tucuman, Historia y

Folklore. Univ. Nacional de Tucumin, 1946, p. 268.
72 The religious play "El Cautivo" has been performed by various fraternities
in La Tirana. There exists a number of versions of this theatrical work, deriving
from the mock battles between Moors and Christians, which were common in
the Iberian peninsula from the XIIth century, then passed over to Latin America.
In Iquique there exist four versions of this work, outstanding among them
being that of Alfredo Rodriguez, sergeant of the Armoured Division No. 1 of this
town, and caporal, in 1953, of the Fraternities of Cuyacas, Pastoras and Lacas.
Uribe Echevarria, Juan. Fiesta de la Tirana de Tarapaca. Ediciones Uni-
versitarias de Valparaiso, without date. Santiago, pp. 38-39 and 48.

73 Uribe Echevarria, Juan. Op. cit. pp. 79 and 81.
70 See Stevenson, Robert. The music of Peru. Pacific Press S. A., Lima,
1959, pp. 148, 159-160, 167, 1693.
16 See Fortdn, Julia Elena. La Navidad en Bolivia. La Paz, Colecci6n Etno-
grafia y Folklore, 1957, pp. 75-90.
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Cortez Iquique Chile

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The Nativity in Iquique, Chile.

The Christmas Carols of the Fraternities of Las Cuyacas and

The Nativity in Iquique, Chile.

The Christmas Carols of the Fraternities

of Las Cuyacas and Pastoras

The absence of musicological and ethnomusicological investigations

prompted us to undertake this task.

with literary peculiarities or highlights their picturesque aspects.

The folklorologists Luis Gaston Soublette,2 Raquel Barros and

mas Carols). Revista en Viaje. XXVI: 304. 1959. pp. 29-31.

b) Navidad canta en sus villancicos (The Nativity sung in Christmas Carols).

Revista en Viaje. XXX: 362. 1963. pp. 4-5.

d) Agrupacidn folklorica chilena. "Nuestra pascua en el folklore". "Crisol."

28. pp. 24-25.

e) Agrupaci6n folklorica chilena. "Celebracion de la Novena del nifio en

4 Lavin, Carlos. Criollismo literario y musical. Revista Musical Chilean

82 C. Mir6-Cortez: The Nativity in Iquique

musicologist Maria Ester Grebe7 approached the topic in a specific

The celebration of the Nativity in the town of Iquique, in the

a wide selection of sung verses, as: "Albricias", "Arrurru", "Tamborcitos",

6 Pereira Salas, Eugenio. Los villancicos chilenos. Revista Musical Chilena.

this manifestation in the centre of the country.

Norte Chico. - Comprises the provinces of Atacama, not including the

C. Mir6-Cortez: The Nativity in Iquique 83

The conclusions arrived at by the works of the above-mentioned

B. - It is formally adapted to the structure of the poem, generally

country, as: Tonadas, Parabienes and Esquinazos (tunes, salutations

10 Lavin, Carlos. Romerias chilenas. (Chilean pilgrimages). Revista Musical

11 Urrutia Blondel, Jorge. Danzas Rituales en la provincia de Santiago.

6* Studia Musicologica Academiae Scientiarumn Hungaricae 18, 1976

84 C. Mird-Cortez: The Nativity in Iquique

So - fio - ra do- fia Ma - ri - a, ven - go

to - daa-ver-gon - za- da,Que vi-vael Ni - fio mia-ma- do

Dios, Quo vi- vael Ni- fiomia-ma - do Dios.

,,Sefiora dofia Maria"

Se - fio- ra do-fia Ma - ri - a,-. a - qii le trai-goamihi - ji - to,-

rdri a- rru- rri, ,c dudr-me- te Ni-fiio Je - sus, A- rru-

rr, a - rru- rrd,, du6r - me- to Ni-fio Je - sus.

cantores !;e Am6rica: pag.79

Studia Musicologica Academiae Scientiarum Hungarica 18, 1976

C. Mird-Cortez: The Nativity in Iquique 85

Se-flo- ra do-fia Ma - ri-a,. yoven-go de a-114 muy lejos, v su

Nt - fii.-vtole Jtrai-go un par- ci - to de co - je- nos, za-pa-llos le

mandanmi tai-taymi ma-ma la e- fia Jo - se - fay lai ti-a Juana.

Christmas festivities in the town of Iquique by the Fraternities of Las

Cuyacas and Las Pastoras, laying emphasis upon the socio-cultural

For this reason it will be necessary to examine succinctly the origins

and the present activity of the Brotherhoods in Latin America and in

Fraternities in Latin America

86 C. Mird-Cortez: The Nativity in Iquique

They were religious societies attached to a church or hermitage

These Brotherhoods had a hierarchic system of organization which

in their respective Dioceses.

- in addition to the above-mentioned ordinances - the regulations

money, houses and property.

Islands, Chile, Guatemala, the Island of Cuba and Caracas, shall

"9. - It will be the first care of the said subordinate Juntas to

and chaplainships, be they collective or gentilitious which there

"14. - Exempt from the above regulation are those fraternities

C. Mir6-Cortez: The Nativity in Iquique 87

surplus effects to be impounded, upon hearing their respective

transferred to the Fund of the Gubernatorial Commision shall be

deducted, in whose finances shall be noted and paid the interest

to be excessively pagan, licentious and anti-Christian.